This article will show how, through an expressionist style that references Gothic and noir cinema, Les Diaboliques (Henri-Georges Clouzot, 1955) mediates concepts found in contemporary post-war French existentialism, in particular the phenomenology of horror of Sartre, with whom the director had a personal association. It will examine how the experience of horror is presented as a conscious apprehension of the world as irrational and no longer conforming to deterministic and conventional order. Les Diaboliques asserts that horror results from a distorted perception that has imbued the world with those qualities, and in this case, perception has been manipulated by the sadistic Other. The article will link this portrayal of horror to Les Diaboliques’ well-established influence on the development of the dominant 1960s and 1970s paranoid-psychological horror film and key figures like Alfred Hitchcock and William Castle, suggesting the ontological source of horror in these films as existential phenomenological in nature as opposed to exclusively being the result of psychosexual and familial repression, as is commonly posited by critics.
This article draws upon the work of Sylvia Wynter and W.E.B. Du Bois in order to propose that film-philosophy has historically not paid due attention to race. Drawing upon the former’s concept of “the sociogenic principle”, as well as the latter’s theories of “the colour line” and “double-consciousness”, the article argues that modernity has been constructed coterminously with whiteness, as well as a “photographic/cinematographic” logic whereby Blackness is cast into a “negative” realm. That is, while modernity might be white, more specifically it is antiblack. For film-philosophy ethically to evolve, then, it must not just pursue a dewesternising turn to the global, as suggested by various scholars, but it must also reckon with antiblackness and the role that cinema has played in constructing and reaffirming a white (and therefore antiblack) world. By this token, recent engagements with objects and animals similarly do not often consider race as a structuring concept of and for the human, in distinction to which both objects and animals supposedly exist. Indeed, one might even construe the contemporary emphasis on objects and animals among primarily white western scholars as a refusal to consider race with the critical rigour that it merits. This article goes some way towards introducing such critical rigour as developed among scholars in critical race theory, in particular Black Studies, especially Du Bois and Wynter; and it proposes that the application of such work to film will radically alter how we consider the medium. In this way, the article draws out the (white) colour of film-philosophy, and argues for a racially conscious/conscientious film-philosophy that will thus be worthy of the name.
Although spatial locality is explicit in the Heisenberg picture of quantum dynamics, spatial locality is not explicit in the Schrödinger picture equations of motion. The gauge picture is a modification of Schrödinger's picture such that locality is explicit in the equations of motion. In order to achieve this explicit locality, the gauge picture utilizes (1) a distinct wavefunction associated with each patch of space, and (2) time-dependent unitary connections to relate the Hilbert spaces associated with nearby patches. In this work, we show that by adding an additional spatially-local term to the gauge picture equations of motion, we can effectively interpolate between the gauge and Schrödinger pictures, such that when this additional term has a large coefficient, all of the gauge picture wavefunctions approach the Schrödginer picture wavefunction (and the connections approach the identity).
“Esquecerte de quen es para ser ti mesma-outra”, dinos a voz e o corpo en exilio da actriz de orixe galega María Casares no filme de Alain Resnais Gernika, 1945.
Para non esquecer a barbarie, o bombardeo sobre poboación civil, a perda. Para sentir o corpo algures, alén da perda, no lugar onde están os teus pés. Con esta idea paradoxal canda o cinema que lle pon rostro a ese sinal tráxico do século: o movemento incesante de masas humanas por fame, guerras, persecución, catástrofes... imos procurar un cinema no que o territorio é, singularmente, o desexo do retorno; imos cara as definicións de cine migrante, de cinema de e dende a diáspora e so as pegadas do feminino; imos cara a
actitude do e da cineasta como constitutiva das obras para, na fin, exemplificalo a traveso dunha pequena viaxe no Cinema en Lingua Galega.
Exhibition review of "Jean Desmet’s Dream Factory. The Adventurous Years of Film (1907-1916)" held in Eye Film Instituut in Amsterdam. Paying hommage to film operator and collector Jean Desmet, the exhibition presents a wide range of the film collection as well as a number of rare archival materials.
We investigate reaction mechanisms by monitoring the kinetics of transient intermediates. The technique is flash photolysis, the main targets are diradicals, unstable tautomers (enols), and phototriggers for time-resolved biochemical studies.