Negotiations of Pornography in Bruno Dumont’s Cinema
Abstract
Two images from Twentynine Palms and Humanite by Bruno Dumont are used in the article to show the strategies that the cinema of French extremism uses to negotiate the pornography of literal images of bodies experiencing pleasure or, on the contrary, pain. Reading them in the context of the sensual theory of film demonstrates how in the tangle between what is real and artificial in the cinema, the embodied viewer is entangled, and often forced to take an uncomfortable position looking at the images that demand that one looks the other away. Attacks on the viewer are interpreted as a strategy that exposes cultural practices related to looking, as well as the handling of images - especially those with which viewers enter into a particularly close, sensual relationship.
Keywords:
Bruno Dumont, sensuous theory, French extremism, embodiment, discomfortReferences
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Authors
Aleksander Kmakkwartalnik.filmowy@ispan.pl
University of Warsaw Poland
Doktorant w Zakładzie Filmu i Kultury Wizualnej Instytutu Kultury Polskiej Uniwersytetu Warszawskiego; krytyk sztuki, kinofil. Zajmuje się teorią i historią filmu jako elementami namysłu nad obrazami i związanymi z nimi praktykami. Publikował w „Widoku”, „Pleografie”, „Ekranach”; na stałe współpracuje z magazynem „Szum”.
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