{"id":3314,"date":"2024-03-12T18:00:45","date_gmt":"2024-03-12T17:00:45","guid":{"rendered":"https:\/\/ctalker.org\/?p=3314"},"modified":"2024-12-18T13:54:54","modified_gmt":"2024-12-18T12:54:54","slug":"kurbli-filmkub-jean-luc-godard-eli-az-eletet","status":"publish","type":"post","link":"https:\/\/ctalker.org\/en\/2024\/03\/12\/kurbli-filmkub-jean-luc-godard-eli-az-eletet\/","title":{"rendered":"Kurbli Filmkub: Jean-Luc Godard-\u00c9li az \u00e9let\u00e9t"},"content":{"rendered":"\n

Szabadka\/2024.03.12.<\/p>\n\n\n\n

Jean-Luc Godard: \u00c9li az \u00e9let\u00e9t<\/em> (Vivre sa vie), 1962, francia essz\u00e9film sorsdr\u00e1ma, 85 perc<\/p>\n\n\n\n

\u201e \u2013 J\u00f3 amit olvasol?<\/em><\/p>\n\n\n\n

\u2013 A t\u00f6rt\u00e9net ostoba, de j\u00f3l meg van \u00edrva.\u201d<\/em><\/p>\n\n\n\n

(A prostitu\u00e1lt Nana \/Anna Karina\/ \u00e9s munkat\u00e1rs\u00e1nak p\u00e1rbesz\u00e9de.)<\/p>\n\n\n\n

A nagykor\u00fav\u00e1 v\u00e1l\u00f3 mozi formanyelv\u00e9t f\u00f6lszabad\u00edt\u00f3 Godard essz\u00e9filmj\u00e9nek elidegen\u00edt\u0151 t\u00f6rekv\u00e9sei m\u00f6g\u00f6tt, a meg\u00e9rt\u00e9s \u00f6sszetetts\u00e9g\u00e9nek zseni\u00e1lis kifejez\u0151d\u00e9se lapul. Feles\u00e9ge Anna Karina, a filmv\u00e1sznon megjelen\u0151 modern n\u0151 egyik els\u0151 \u00e9s m\u00e1ig legalapvet\u0151bb alakja! Nana belen\u00e9z a kamer\u00e1ba. Ezzel nemcsak az elavult filmnyelvi konvenci\u00f3k vil\u00e1g\u00e1b\u00f3l, de a film aktu\u00e1lis (diegetikus) elbesz\u00e9l\u00e9sform\u00e1j\u00e1b\u00f3l is kil\u00e9p, egy m\u00e9g intellektu\u00e1lisabb audiovizu\u00e1lis dimenzi\u00f3ba. Felkorb\u00e1csolja a n\u00e9z\u0151 \u00e9rtelmez\u00e9si v\u00e1gyait. Klasszikus \u00e9s m\u0171v\u00e9szfilmes elbesz\u00e9l\u00e9sm\u00f3d keveredik; T\u00f6bbsz\u00f6r\u00f6s id\u00e9zetek, filmes utal\u00e1sok, intertextu\u00e1lis j\u00e1t\u00e9k; Szokatlan sz\u00edn\u00e9szvezet\u00e9s; T\u00f6rt\u00e9netek a t\u00f6rt\u00e9netekben; Az egyszerre kifel\u00e9 \u00e9s befel\u00e9 besz\u00e9l\u00e9s var\u00e1zsa; Godard, mint k\u00fcls\u0151 narr\u00e1tor, szerepl\u0151t szinkroniz\u00e1l; A filoz\u00f3fust igazi filoz\u00f3fus j\u00e1tssza, val\u00f3s\u00e1g \u00e9s fikci\u00f3 jelz\u00e9sszer\u0171 egy\u00e9rt\u00e9k\u0171s\u00e9gek\u00e9nt; K\u00e9preg\u00e9nyes \u00e9s filmszer\u0171tlen; T\u00e1rgyias\u00edt\u00f3 mont\u00e1zs \u00e9s kamera; Az elrontott k\u00e9pkiv\u00e1g\u00e1sok dokumentarista minimalista st\u00edlust teremtenek a statikus be\u00e1ll\u00edt\u00e1sokban; Ugr\u00f3v\u00e1g\u00e1sok \u00e9s repetit\u00edv mot\u00edvumok; T\u00e9rzavarok, id\u0151tlens\u00e9g; Az \u00e1br\u00e1zol\u00e1sm\u00f3d artisztikus, mert az alkot\u00e1s folyamata a legfontosabb.<\/p>\n\n\n\n

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\"\"<\/figure>\n\n\n\n
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\"\"<\/figure>\n<\/figure>\n\n\n\n
Godard filmnyelvi besz\u00e9daktusai t\u00e1rsalg\u00e1si normas\u00e9rt\u00e9sek. <\/i>\u201e\u2026 a n\u00e9z\u0151i \u00e1ll\u00e1sfoglal\u00e1st elod\u00e1zza, a jelent\u00e9sek k\u00e9phez rendel\u00e9s\u00e9t tov\u00e1bb lebegteti, a l\u00e1tv\u00e1nyon t\u00fali \u00f6sszetev\u0151ket mozg\u00e1sba lend\u00edti.\u201d<\/i> (KISS)<\/span><\/div>\n
 <\/div>\n
\u201eaz eg\u00e9sz film maga felfoghat\u00f3 nem csup\u00e1n a filmez\u00e9si m\u00f3dozatok azonos helyzetre val\u00f3 kombin\u00e1ci\u00f3j\u00e1b\u00f3l ad\u00f3d\u00f3 parametrikus st\u00edlusj\u00e1t\u00e9knak, ahogyan Bordwell min\u0151s\u00edtette, hanem egy saj\u00e1tosan filmszer\u0171 portr\u00e9 megalkot\u00e1s\u00e1nak, v\u00e9gs\u0151 soron pedig a reflex\u00edv \u00e1br\u00e1zol\u00e1sm\u00f3d \u00e9s a k\u00e9pben megragadhat\u00f3 \u00e9letszer\u0171s\u00e9g, az \u00f6n\u00e1ll\u00f3 \u00e9letre keltett, \u00e9s a koll\u00e1zsb\u00f3l mikrokozmossz\u00e1 rendez\u0151d\u0151 reprezent\u00e1ci\u00f3 paradoxonjaival val\u00f3 k\u00eds\u00e9rletez\u00e9snek is.\u201d<\/i> (in: Prae 2000\/3-4. pp. 44.)<\/span><\/div>\n\n\n
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\"\"<\/figure>\n<\/div>\n\n\n

\u201e\u2026 az \u00c9li az \u00e9let\u00e9t? Nos, \u00e9ppen azt s\u0171r\u00edti mag\u00e1ba, amit \u2013 t\u00e1gul\u00f3 koncentrikus k\u00f6r\u00f6kben \u2013 Godard teljes \u00e9letm\u0171ve, a francia \u00fajhull\u00e1m \u00e9s az eur\u00f3pai modernizmus: az addigi filmm\u0171v\u00e9szeti hagyom\u00e1nyok lebont\u00e1s\u00e1t \u00e9s egy \u00faj besz\u00e9dm\u00f3d megteremt\u00e9s\u00e9t, azaz a\u00a0filmnyelv m\u00e1sodik forradalm\u00e1t a klasszikus n\u00e9mafilmek els\u0151 forradalma ut\u00e1n. Az \u00c9li az \u00e9let\u00e9tben ez a gesztus k\u00f6vethet\u0151 nyomon: a konvenci\u00f3k felforgat\u00e1sa, amikor m\u00e9g l\u00e1tszik a \u201eboml\u00e1sterm\u00e9k\u201d, s \u201er\u00e9gi \u00e9s \u00faj\u201d egyszerre, mintegy egym\u00e1sban van jelen. Ez\u00e9rt j\u00f3 tananyag a film, hiszen a filmnyelvi kifejez\u0151eszk\u00f6z\u00f6k \u201ekiford\u00edt\u00e1sa\u201d mintegy l\u00e1that\u00f3v\u00e1 teszi azt, ami legt\u00f6bbsz\u00f6r l\u00e1thatatlan. Godard egyszerre megmutat valamit, majd vissza is vonja \u2013 \u00e9s \u00e9ppen ezzel teszi a forma m\u0171k\u00f6d\u00e9s\u00e9t szeml\u00e9letess\u00e9 \u2026\u201d (Gelencs\u00e9r G\u00e1bor filmt\u00f6rt\u00e9n\u00e9sz, az ELTE oktat\u00f3ja)<\/p>\n

Sz\u00e1sz Csongor<\/p>\n\n\n\n

A programot t\u00e1mogatta: <\/p>\n\n\n\n

\"\"<\/figure>\n","protected":false},"excerpt":{"rendered":"

Szabadka\/2024.03.12. Jean-Luc Godard: \u00c9li az \u00e9let\u00e9t (Vivre sa vie), 1962, francia essz\u00e9film sorsdr\u00e1ma, 85 perc \u201e \u2013 J\u00f3 amit olvasol? \u2013 A t\u00f6rt\u00e9net ostoba, de j\u00f3l meg van \u00edrva.\u201d (A prostitu\u00e1lt Nana \/Anna Karina\/ \u00e9s munkat\u00e1rs\u00e1nak p\u00e1rbesz\u00e9de.)...<\/p>\n","protected":false},"author":3,"featured_media":3319,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[8,9],"tags":[],"class_list":["post-3314","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kurbli","category-kurbli-filmklub"],"featured_image_src":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2024\/03\/430847356_10233768566017267_4848978305392859552_n.jpg","featured_image_src_square":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2024\/03\/430847356_10233768566017267_4848978305392859552_n.jpg","author_info":{"display_name":"Kari","author_link":"https:\/\/ctalker.org\/en\/author\/karina\/"},"_links":{"self":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/3314","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/comments?post=3314"}],"version-history":[{"count":2,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/3314\/revisions"}],"predecessor-version":[{"id":4150,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/3314\/revisions\/4150"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media\/3319"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media?parent=3314"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/categories?post=3314"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/tags?post=3314"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}