Alexandre Astruc’s canonical essay, ‘The Birth of a New Avant-Garde: La Caméra -Stylo’ (), is considered a key precursor in the study of cinematic. La caméra-stylo. Alexandre Astruc. “What interests ine in the cinema is abstraction.’ (Orson Welles). One casinot help noticing that something is happening in the. Influenced by the introduction of the revolutionary 16mm film technology; French Filmmaker and critic Alexandre Astruc predicted a.

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From that moment on, it will no longer be possible to speak of the cinema. But there is a time and place for polemics. He asteuc return to his literary beginnings in the s, writing a series of novels even as he continued to develop film and television projects.

This unpredictability is the result of a number of factors, and they are not all part of the same industrialisation or corporatisation of the medium.

The existence of the Nouvelle Vague to cite just one exampleand its continued ability to inspire future generations of filmmakers, belies the claim that cinema develops along a single course, with everything assimilated into a single, hegemonic form. It is not just a coincidence that Renoir’s La Regle du JeuWelles’s films, and Bresson’s Les Dames du Bois de Boulogneall films which establish the foundations of a new future for the cinema, have escaped the attention of critics, who in any case were not cmaera of spotting them.

The most philosophical meditations on human production, psychology, metaphysics, ideas, and passions lie within its province. After having been successively a fairground attraction, an amusement analogous to boulevard theatre, or a means camerq preserving the images of an era, [film] is gradually becoming a language. But neither the silent cinema, because it was the slave of a static conception of the image, nor the classical sound cinema, as it has existed right up to now, has been able to solve this problem satisfactorily.

This is directly related to the fact that most filmgoers and television viewers have no access to equipment, and no ability to participate in these media except as spectators. But that avant-garde is already old hat. We highly recommend it!! That’s why I am talking about avant-garde.


Edinburgh University Press, University of California Press,p. Of course, no tendency can be so called unless it has something concrete to show for itself. In this seriesStiegler reflects on the encounter, or non-encounter, between philosophy and technology.

Remember Eisenstein’s famous statement: The cinema of today is getting a new face. Let me say once again that I realise the term avant-garde savours of the surrealist and so-called abstract films of the s.

When Astruc discusses thinking and language, he does not mean that filmmakers should transport linguistic ideas or linguistic signs into cinema.

Well, the only cause of these compressions is laziness and lack of imagination. This is not to say that the majority of works produced in the past ten years have attempted to utilise technics in such a fashion; quite the contrary, for the most part, the majority of users simply wish to replicate the cinematic and televisual forms that they are familiar with, and which they recognise however falsely as their own.

And would Citizen Kane be satisfactory in any other form than that given camerz it by Orson Welles? We have come to realise that the meaning which the silent cinema tried to give birth to through symbolic association exists within the image itself, in the development of the narrative, in every gesture of the characters, in every line of dialogue, in those camera movements which relate objects to objects and characters to objects.

Alexandre Astruc

Already it is looking to the future, for the future, in the cinema as elsewhere, is the only thing that matters. His ideas were published in an essay where he discussed the cinema aesthetics used by Orson Welles and Jean Renoir and compared them to recent 16mm technology and television. Every film, because its primary function is to move, i.

Language is a mode of abstraction since it converts our everyday perceptions into concepts or signs. It is through his encounter with a series of technical instruments — the alphabet which gave him access to words and languagepen and paper which allowed him to articulate his ideas in an exteriorised form — that Stiegler was able to develop his thoughts and transform himself from a convict into a philosopher.


By it I mean that the cinema will gradually break free from the tyranny of the visual, from the image for its own sake, from the immediate and concrete demands of the narrative, to become a means of writing just as flexible and subtle as written language. But there was the possibility that this might occur, through this individual encounter with technics.

Thinking with the Camera, from Astruc to Stiegler

Cinematic Time and the Question of Malaise. Cinematographic writing begins camwra the camera is brought into play, when it is brought into proximity with a set of pro-filmic elements — and a film is allowed to form of this encounter. The Internet and broadband access across axtruc world gave the everyday person the opportunity to distribute their content online from their personal computer. From that moment on, it will no longer be possible to speak of the cinema.

Stiegler, in his more recent writings, has taken a somewhat more positive view on the question of technics related to the rise of new technologies digital, the Internet that provide new opportunities for consumers to become producers; to utilise technics such as video cameras for their own education and edification.

We have no desire to rehash those poetic documentaries and surrealist films of twenty-five years ago every time we manage to escape the demands of a commercial industry. The public spheres which first emerged in Germany and Austria during inter-war years were organized in response and opposition to the dominating public space.