Subject, Time, Light: Gaspar Noe’s Experiments With Realism in “Enter the Void”
Abstract
The article deals with Gaspar Noe’s Enter the Void (2009). The author analyses different ways of presenting reality that Noe employs in his work in relation to various concepts of extending realism. Michnik compares Enter the void with 19th century French paintings and various trends in cinematography and visual arts of the 1960s: structural film, Stanley Kubrick’s 2001: Space Odyssey, op-art, Andy Warhol’s multimedia experiments, and objects by Dan Flavin and Bruce Nauman. Basing his argument on the work and thoughts of Michael Fried and Robert Smithson, Michnik considers various models of vision employed by the director and the relation of his film to the concept of time. He also analyses Noe’s use of the Tibetan Book of the Dead. He uses the concepts of Hal Foster’s “traumatic realism”, Fredric Jameson’s „magic realism” and Luis Felipe Noe’s, Gaspar Noe’s eminent father, “subjective realism”.
Keywords:
Gaspar Noé, realism, Michael Fried, Robert SmithsonReferences
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Authors
Antoni Michnikkwartalnik.filmowy@ispan.pl
University of Warsaw Poland
Student Kolegium MISH na UW, prowadzi wykłady w ramach Uniwersytetu Krytycznego, współpracownik Domu Spotkań z Historią; zajmuje się problemami z kręgu kultury niemieckiej oraz interakcjami muzyki i sztuk wizualnych; publikował m.in. w „Kwartalniku Filmowym”, „Kontekstach”, „Zeszytach Literackich”, „Glissandzie”, „Wyspie”.
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