Film Editing and Gesture
Abstract
The article is a chapter taken out of the book Approaches to Carpalistics: Movement and Gesture in Art, Literature and Film [Na podstupah k karpalistike: Dvizhenie i zhest v literature, iskusstve i kino] (2010) in which the author wants to make real the idea of the hero of the novel by Vladimir Nabokov Pnin: the creation of a new science – carpalistics (from the Latin carpus – wrist), philosophy of human gesture. Yuri Tsivian took over this literary idea and filled it with serious content, seeing the movement and gesture as the basis of all the arts. In cinema, gesture is associated with the problem of editing. Gesture and editing are the two dominant principles of construction which are in conflict with each other. It is a conflict between the opponents and supporters of editing, between the “Russian style” of editing (gesture and facial expressions of actors) and the “American style” (director and editing). This conflict is not concluded by the success of one of the sides (editing), as the pendulum of development of film might move in the direction of the opposite principle. The author ends the chapter with a metascientific reflection on film studies, which as a scientific discipline should avoid deterministic, reductionist and one-way schemes of analysis and take into account – as advocated by Russian formalists – specificity of young art.
- The text is a translation of a chapter from the book Approaches to Carpalistics: Movement and Gesture in Art, Literature and Film [Na podstupah k karpalistike: Dvizhenie i zhest v literature, iskusstve i kino] by Yuri Tsivian. © Novoe Literaturnoe Obozrenie, Moscow 2010.
Due to copyright restrictions the article is available in the print version only.
Keywords:
carpalistics, gesture, editingReferences
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Authors
Yuri Tsiviankwartalnik.filmowy@ispan.pl
University of Chicago United States
Łotewski historyk i teoretyk kina, wybitny znawca dziejów filmu niemego, założyciel muzeum kina w Rydze. Za czasów ZSRR współpracował z tartusko-moskiewską szkołą semiotyczną, czego owocem była książka Dialog z ekranem (1994), napisana z Jurijem Łotmanem. Od 1996 r. prof. Uniwersytetu w Chicago. W Polsce jego artykuły publikowano m.in. w „Kwartalniku Filmowym”, „Kontekstach” i antologii Cudowny Kinemo (2001).
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