Relevant bibliographies by topics / Holy motors (Film cinématographique)

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Academic literature on the topic 'Holy motors (Film cinématographique)'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Holy motors (Film cinématographique)"

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English, Jeri. "Entre unheimlich et abjection : instabilité identitaire et intertextualité dans Holy Motors de Leos Carax." Articles, no. 121 (March 27, 2023): 75–88. http://dx.doi.org/10.7202/1097953ar.

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Cet article explore le croisement entre unheimlich et abjection dans le film Holy Motors (2012) de Leos Carax. Si l’abjection et l’unheimlich semblent être presque synonymes, Kristeva, dans Pouvoirs de l’horreur, précise que l’abjection est « [e]ssentiellement différente de ‘l’inquiétante étrangeté’ » théorisée par Freud en 1919. Nous montrerons pourtant que l’angoisse ressentie par le spectateur lors du visionnement de Holy Motors relève des deux phénomènes. Nous verrons comment Carax déstabilise le spectateur en représentant l’identité du personnage de M. Oscar comme fondamentalement changeante tout au long du film ; nous nous consacrerons ensuite à une analyse de deux épisodes de Holy Motors visant à renforcer chez le spectateur une distanciation radicale de M. Oscar (due au sentiment d’abjection) et une incertitude à l’égard de son identité (due à la sensation d’unheimlich). Enfin, nous examinerons comment, par la création d’un lien explicite au film d’épouvante Les yeux sans visage (Georges Franju 1959), lui aussi fortement ancré dans l’abjection et dans l’unheimlich, Carax renforce l’impossibilité chez ses personnages d’incarner une identité stable et maintient ses spectateurs dans un état d’aliénation par rapport à la diégèse du film.
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Zaleski, Marek. "Mediascape’s Drifter." Open Cultural Studies 2, no. 1 (December 1, 2018): 574–80. http://dx.doi.org/10.1515/culture-2018-0052.

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Abstract Today, mediascapes (see Appadurai) play a predominant role in the construction of modes of human existence. How do they determine our agency? How do they form screens for our emotions, how do they build non-negligible spaces in which our dramas play out? Do they support us or, on the contrary, do they limit us? I pose these questions in relation to Holy Motors (2012), a film by the French director Leos Carax. His film presents man’s postmodern condition as well as state of the art nowadays. The hero of Holy Motors is the absolute actor, a set of his avatars, the postmodern Proteus doomed to live and experience repeatedly a parody of “all the same.” My thesis is that mediascapes only seem to strengthen our agency. They offer us a plural existence and an easy ability to enlarge the borders between illusion and reality, but in fact, they make us part of a system of the urban “desiring machine,” they make our identities and our bodies into a sort of spectacle directed by external forces.
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Walton, Saige. "The beauty of the act: Figuring film and the delirious baroque in ‘Holy Motors’." NECSUS. European Journal of Media Studies 3, no. 1 (January 1, 2014): 245–65. http://dx.doi.org/10.5117/necsus2014.1.walt.

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4

Dediu, Eugen. "Performative Cinema and Its Techniques." AVANCA | CINEMA, no. 14 (January 5, 2024): 114–20. http://dx.doi.org/10.37390/avancacinema.2023.a482.

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The aim of this paper presentation is to analyze in-depth the transition and transformation of performance art into the world of cinema, creating the notion of performative cinema – a notion that is very present in today`s cinematic language, however not enough recognized as a movement in itself. The core mantra of performative cinema is the involvement of the spectator – both the emancipation of the viewer in an age of consumerist blockbusters and his awakening into a certain state of mind (in some cases, performative cinema can even lead towards transcendental meditation). The paper will briefly follow the origins of performative cinema and its techniques, with roots in the works of Alejandro Jodorowsky, Pier Paolo Pasolini and Pere Portabella, while reaching into the present through works of film auteurs like Apichatpong Weerasethakul and Yorgos Lanthimos. The presentation will focus to unveil and analyze the approaches of performative cinema, conveying how it works as a piece of performance art in itself – and how its relay into cinema can be direct, with a dadaesque influence through a transgressive political message (`Holy Motors` by Leos Carax representing an example), or more subtle – through nuances and refined directorial interventions (Weerasethakul`s `Memoria`). The systematic analysis of these movies as core examples of performative cinema means an enterprise into both the narrative elements and the visual identity of the films, with the purpose of classifying a genre that has remained unknown for too long, deserving the treatment of a cinematic wave in itself.
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Books on the topic "Holy motors (Film cinématographique)"

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d'Allonnes, Judith Revault. Holy motors de Léos Carax: Les visages sans yeux. Crisnée, Belgique: Yellow Now, 2015.

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Lash, Dominic. The Cinema of Disorientation. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474462778.001.0001.

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Perhaps because they are so immediately absorbing, narrative films can also be profoundly confusing and disorienting. This fascinating book neither proposes fool-proof methods for avoiding confusion, nor does it suggest that disorientation is always a virtue. Instead, it argues that the best way to come to terms with our confusion is to look closely at exactly what is confusing us, and why. At the heart of the book are original close readings of four important recent films: David Lynch's INLAND EMPIRE (2006), Leos Carax's Holy Motors (2012), Pedro Costa's Colossal Youth (2006) and Jean-Luc Godard's Adieu au langage (2014). Clearly written but critically and theoretically bold, The Cinema of Disorientation: Inviting Confusions explores both how we get (or fail to get) our bearings with respect to a film, and what we might discover by (and while) doing so.
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Book chapters on the topic "Holy motors (Film cinématographique)"

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Landesman, Ohad. "Holy Motors." In Metacinema, 173–88. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.003.0009.

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Holy Motors (2012, dir. Leos Carax) is a film that poses many challenges for the viewer. It proceeds without any narrative logic, embraces a fragmented and disorienting structure, provides unmotivated character behavior, and produces epistemological confusion. This chapter argues that Carax’s film should be understood primarily as a metacinematic work about both the death of cinema and its concurrent rebirth, and that it represents and complicates cultural and critical anxieties about the impact of new technologies on cinema’s development in the twenty-first century. Holy Motors is used as a rich case study for evaluating the merits and limitations of mourning cinema’s passing era in the midst of the technological revolution. The film, it is argued, invites us to re-evaluate today the early rhetoric of crisis, death, and rupture, prevalent in the early days of digital cinema, and to trace not only what has been arguably lost in the transition, but also what could be ultimately gained from it.
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Lash, Dominic. "Achieving Coherence: Diegesis and Death in Holy Motors." In The Cinema of Disorientation, 69–88. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474462778.003.0006.

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This chapter consists of a close reading of David Lynch's 2006 film INLAND EMPIRE. It proposes that the film is best regarded neither as a puzzle to be solved nor as a bewildering experience that cannot be approached fully rationally. Rather, the ways that it both responds to and resists our inquiries contribute to its distinctive aesthetic, affective, and narrative texture. This is demonstrated by means of three different reading strategies, each of which develop out of gaps, or persisting disorientations, in the preceding strategy. It is concluded that INLAND EMPIRE demonstrates how orientation can be in tension with completeness. There are many ways in which we can grasp Lynch's film, but each of them leaves out one or more aspects of the film, and which things are left out can drastically affect our interpretation.
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3

Smith, Ellen. "Where the popular meets the esoteric: Videodrome (1983) and Holy Motors (2012)." In Pop Stars on Film. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781501372544.ch-005.

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Lash, Dominic. "Figuring (Out) Films: Figuration in Narrative Cinema." In The Cinema of Disorientation, 91–104. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474462778.003.0007.

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This chapter consists of a close reading of Leos Carax's 2012 film Holy Motors. The consistency of the film's diegesis – or the lack thereof – is explored in order to defend the proposition that it is less useful to describe a film as either being coherent (or not) than to see coherence as something that a film can achieve (or fail to do so). Coherence is distinguished from cohesion and consistency, and it is argued that – contrary to what is often assumed – narrative or diegetic inconsistency need not result in the emotional alienation of the viewer. The chapter concludes that Holy Motors represents, among other things, a serious investigation of grief, and that (despite its many contradictions, inconsistencies and moments of apparent incoherence) one of its most significant achievements is that it does not thereby fundamentally disorientate the viewer.
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Faucon, Térésa. "Godard’s suburban years." In Screening the Paris suburbs. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526106858.003.0011.

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Far from a simple backdrop, the lived environment was for Jean-Luc Godard capable of eliciting specific modes of cinematographic thought; choice of locations could impact the shape and feel of a film more than its screenplay. Prevalent in his works of the 1960s are suburban landscapes and locales, from the villas, cafés and roadways frequented by the characters of Bande à part (1964) to the high-rises of La Courneuve shown in the essay in phenomenology 2 ou 3 choses que je sais d’elle (1967). Without positing an equivalence between suburban heterogeneity and Godard’s jarring late-modern aesthetic, the author argues for the generative, transgressive capacity of a capitalist space in the throes of transformation and shot through with fragments of history. Shooting near Joinville-le-Pont and Vincennes in Bande à part, Godard pays homage to those pioneers who came before him, like Mack Sennett or Louis Feuillade. In other contexts, like the science-fiction sendup Alphaville (1965), he finds signs of the future in the present, showing Lemmy Caution moving through sleek, well-lit neighbourhoods of high-rises. The spatio-temporal rupture characteristic of Godard’s approach to suburban space resurfaces to surprising effect in Holy Motors (Leos Carax, 2012).
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