Jean-Louis Comolli (born 30 July ) is a French writer, editor, and film director. He was editor in chief of Cahiers du cinéma from to , during which period he wrote the influential essays “Machines of the Visible” () and “Technique and Ideology: Camera, Perspective, Depth of. One does not see so many references to Jean-Louis Comolli these days, which is a shame since the influence of the former editor of the. 16 Jean-Louis Comolli: ‘Technique and Ideology: Camera, Perspec- tive, Depth of Field’ (May-June and July ). 17 Pascal Bonitzer: “Reality” of Denotation’.

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Cinema Against Spectacle : Technique and Ideology Revisited

Knowledge, connaissanceis also a form of co-birth, co-naissance. In my case, the reference to anarchism mainly came from books.

In What Is Cinema? Above all with these extremely long shoots, lasting two or three hours, when tiredness sets in, and the words do not make the same sound in the end that they did in the beginning.

In Mythologies, translated by Annette Lavers, — Later, I compared the film set to a funeral ceremony. When you film a documentary, you film everything, the entire subject: It was the first time I travelled without my parents, and on the ship to Marseilles I was overcome with anguish.

Jean-Louis Comolli, Part 2 • Interview • Senses of Cinema

It adn framed, whereas life is not framed. Secondly, I had an uncle who was a baker in Marseilles, and I once spent my summer holidays with him there, which made a strong impression on me.


Unlike the group in La Ceciliahowever, we were not a group of anarchists. So they prohibited any filming. In a fiction film, the actor acts as if the camera is not there. I found myself in a situation of an absolute lack of control, wherein I had lost the force of the group. None of this prevents from believing in it. They diverge with respect to the spectator: But we never considered ourselves as Red Guards, because our reality was the opposite of that of the Red Guards, and because there was an intellectual approach to Maoism which was infinitely more complex than that of the Red Guards.

I was pretty much infused with this. So both sides are tired. The Best Books of I explained to him that I needed his body to be filmed. And the question of belief is posed very starkly.

To technjque Distant Observer: English Choose a language for shopping. The more elaborate they become, the more they seem to be working on familiar ground.

So a whole series of elements ensures that making documentary films is a simplified practice when compared with fiction filmmaking. After this silence of several years duration, there was a transition period where I took up writing on jazz notably, on improvisation in jazzand then I felt able to start writing on the cinema again.

Thus, there is the notion of practice, the notion of an engagement in practice, and then there is the notion of passion — practice and passion, it seems to me, go together. This was a powerful moment for me, as I truly loved filming there, so much that, a few years later, I embarked on the project to make a documentary film about the city.


This resistance, in my opinion, takes place largely on the temporal level, in two ways. What made you take this step? Amazon Renewed Refurbished products with a warranty.

The group exploded in the summer ofand I shot La Cecilia in Decemberso about one year later. The Century in Cinema European Perspectives: Amazon Rapids Fun stories for kids on the go.

In the context of La CeciliaRossi was obviously the father-figure, who conceived, founded and promoted the group, and thus had many of the traits of a leader, but due to an admirable excess of historical awareness, he refused this role, because he steadfastly held to anarchist ideology, which rejects techinque idea of a boss. If you are a seller for this product, would you like to suggest updates through seller support? Conversations with Christian Metz Daniel Fairfax.