ABSTRACT

In this article, I analyse the convergences between haptic visuality and Sergei Eisenstein’s film theory, in particular his ideas on rhythm, sensorial thought, organic unity, pathos and ecstasy in order to consider the extent to which they constitute the core of a ‘cinema of sensation’ that, for Eisenstein, serves a very important political drive. Simultaneously positioned at the core of avant-garde criticism of traditional models of representation on the one hand, and political revolutionary ideas on the other, cinema appears, to Eisenstein, as a privileged space in which to bring the representative imagery dominant in ‘bourgeois societies’ into question and to put art at the service of the Revolution. My intent is to assess how Eisenstein combines avant-garde aesthetic aims and experimental film practices with the goals of politically engaged creations. This combination is achieved through the exploration of a haptic use of images that prefigure a ‘cinema of sensation’. This article therefore takes the form of a double analysis: on the one hand, it examines the relationship between haptic visuality and Eisenstein’s film theories; on the other, it questions how haptic visuality plays a fundamental role in harmonising the apparently opposite vectors of aesthetic avant-garde and materialistic political drives.

摘要

在这篇文章中，我分析了触觉视觉与谢尔盖·爱森斯坦的电影理论之间的融合，特别是他关于节奏、感官思维、有机统一、感伤和狂喜的思想，以考虑它们在多大程度上构成了“电影的核心”。感觉”，对爱森斯坦来说，这是一种非常重要的政治驱动力。电影一方面是对传统再现模式的前卫批评，另一方面是政治革命思想的核心，对爱森斯坦来说，电影似乎是一个特权空间，在这个空间中，具有代表性的形象在“资产阶级社会”中占主导地位' 质疑并让艺术为革命服务。我的目的是评估爱森斯坦如何将前卫美学目标和实验电影实践与政治参与创作的目标相结合。这种组合是通过探索预想“感觉电影”的图像的触觉使用来实现的。因此，本文采取双重分析的形式：一方面，它考察了触觉视觉与爱森斯坦电影理论之间的关系；另一方面，它质疑触觉视觉在协调审美前卫和唯物主义政治驱动的明显相反向量方面如何发挥基本作用。它考察了触觉视觉与爱森斯坦电影理论之间的关系；另一方面，它质疑触觉视觉在协调审美前卫和唯物主义政治驱动的明显相反向量方面如何发挥基本作用。它考察了触觉视觉与爱森斯坦电影理论之间的关系；另一方面，它质疑触觉视觉在协调审美前卫和唯物主义政治驱动的明显相反向量方面如何发挥基本作用。