This tactic demands the attention of the viewer. The attraction of experimental literature lies in its ability to defamiliarize the ordinary, to puzzle and intrigue with presentations of objects that are either distorted or outside of any anchoring familiar context. With consideration of the cinematic strategies present in Dreyer’s writings and in La Passion de Jeanne d’ Arc, as well as of writings by theorists W.J.T Mitchell, Christian Metz, and David Bordwell, the paper attempts to delineate the creation of a successful spectator manifested discursive resistance in Dictée. This paper investigates these concerns as they manifest in both Cha’s work and Dreyer’s films, with a particular focus on structural and topical interrelations between Dictée and Dreyer’s silent film, La Passion de Jeanne d’Arc. In works by both artists one can find concerns with the articulation of speech, with historicization, and with the struggles of a subjugated party against a dominating discourse. Korean American artist Theresa Hak Kyung Cha’s work was influenced by the cinematic techniques and themes of Danish film director Carl Theodor Dreyer.
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