Papers by David Brancaleone
closeupfilmcentre.com
... a text to a univocal interpretation is precisely what the text resists (Eco, 1989: 193). ... ... more ... a text to a univocal interpretation is precisely what the text resists (Eco, 1989: 193). ... Given the prosaic nature of filmmaking, its practicalities, Pasolini's conception of a cinema of poetry might seem ... of absolute Evil (that was to be a later idea, developed by Lyotard's forced reading ...
琉球大学教育学部附属障害児教育実践センター, 2007
Irish Marxist Review, 2012
Alain Badiou has developed a philosophy inspired primarily by his political activism, by Marxism ... more Alain Badiou has developed a philosophy inspired primarily by his political activism, by Marxism and Leninism; a project over forty years, which, by his own admission, is materialist, dialectical and entirely at odds with the main thrust of continental thought since the 1970s. His ideas deserve to be taken more seriously for their revolutionary content and impact.
Cineforum, 2015
Un articolo breve (che sintetizza una ricerca più estesa in una pubblicazione inglese), in cui si... more Un articolo breve (che sintetizza una ricerca più estesa in una pubblicazione inglese), in cui si situa il documentario di Laura Poitras nella tradizione francese del Cinéma Direct , piuttosto del Direct Cinema americano di Maysles, di Wiseman e altri, in quanto il filmmaker è anche soggetto partecipante.
Questo articolo approfondisce questo aspetto, nei limiti del possibile, affrontando anche il dibattito e l’accusa che circondava Snowden prima ancora che Poitras finesse il film.: intorno alla dicotomia: diritti universali o segreti nazionali di stato?
Fig. 1. Rossellini’s Paisà (1946) goes where “transient life manifests itself most conspicuously”... more Fig. 1. Rossellini’s Paisà (1946) goes where “transient life manifests itself most conspicuously”. The viewer is made to wander through Naples in a fiction. Its mimesis enables the GI to describe to Pasquale the skyscrapers of New York, while sitting on a pile of rubble. Their seemingly erratic trajectory confronts the viewer with the real city. The wandering ceases when faced with a crowd of displaced people actually living in the caves of Mergellina who become fleeting screen presences in the Naples episode’s shocking denouement.
Irish Marxist Review, Sep 1, 2012
Architecture_MPS, 2014
In 1945 Roberto Rossellini’s Neo-realist Rome, Open City set in motion an approach to cinema and ... more In 1945 Roberto Rossellini’s Neo-realist Rome, Open City set in motion an approach to cinema and its representation of real life – and by extension real spaces – that was to have international significance in film theory and practice. However, the re-use of the real spaces of the city, and elsewhere, as film sets in Neo-realist film offered (and offers) more than an influential aesthetic and set of cinematic theories. Through Neo-realism, it can be argued that we gain access to a cinematic relational and multidimensional space that is not made from built sets, but by filming the built environment. On the one hand, this space allows us to “notice” the contradictions around us in our cities and, by extension, the societies that have produced those cities, while on the other, allows us to see the spatial practices operative in the production and maintenance of those contradictions. In setting out a template for understanding the spatial practices of Neo-realism through the work of Henr...
Irish Educational Studies, 2011
n/a a live interview recorded, and available by url , 2019
This file contains the URL to a recent interview about my recently published two-volume work on t... more This file contains the URL to a recent interview about my recently published two-volume work on the transmission of Neo-realism to Latin America, with a case study of Cesare Zavattini's direct involvement in volume 1 and an anthology of edited texts (as well as many translated from the Spanish).
Alain Badiou's use of the mathematical concept of multiplicity as opposed to Gilles Deleuze's. Nu... more Alain Badiou's use of the mathematical concept of multiplicity as opposed to Gilles Deleuze's. Numbers, art and the philosophical event. Using Badiou's concepts of event as cut, as subtraction of the real, as potential radical change in relation to contemporary art forms.
Many studies centred on Godard do not relate his films and ideas to other film practice. This stu... more Many studies centred on Godard do not relate his films and ideas to other film practice. This study of essay film, taking as its central object Godard's Histoire(s), uses cognitive mapping to relate his work to Resnais, Marker, Debord, Pasolini.
Si parte da una recenzione di un film, in cui si apprezza il fatto che il dialogo è controbilanci... more Si parte da una recenzione di un film, in cui si apprezza il fatto che il dialogo è controbilanciato dal silenzio come forma espressiva efficace, e in cui la forma del film-inchiesta si allarga ad espressione artistica, situando il film della Poitras sia nel contesto della surveillance che del cinema documentario, ma tenendo conto nella scrittura dei vari aspetti del fare cinema.
A positive review of the Oscar prize-winning documentary by Laura Poitras. An extended essay whic... more A positive review of the Oscar prize-winning documentary by Laura Poitras. An extended essay which develops some of the themes is available separately on this site, and was published in Italy.
In setting out a framework for understanding the spatial practices of Neo-Realism through the wor... more In setting out a framework for understanding the spatial practices of Neo-Realism through the work of Henri Lefèbvre, this paper opens its films, and those produced today in its wake, to a spatial-political reading of contemporary relevance. What is suggested is that the rupturing of divisions between real spaces and the spaces of film locations, as well the blurring of the difference between real life and performed actions for the camera that underlies much of the central importance of Neo-realism, finds a textual correlative in the arguments of Marxist sociologist Henri Lefèbvre, with regard the social production of space. In doing so, it is argued that film potentially had, and still has, a vital role to play in a critique of contemporary capitalist spatial practices.
A critical appraisal of Richard Mosse's controversial "Infra" photographs of civil war in Congo,... more A critical appraisal of Richard Mosse's controversial "Infra" photographs of civil war in Congo, in light of photography theory and related war photography.
Commitment after the exhaustion of postmodernism. Recent art theory and related art practice. Bou... more Commitment after the exhaustion of postmodernism. Recent art theory and related art practice. Bourriaud's "relational aesthetics". Laclau and Mouffe's "antagonism", Kester's "dialogical aesthetics", the many senses of "community", the common. I argue for a dialectical aesthetics, following a mapping and critique of a range of oppositional stances.
A critical analysis of Badiou's philosophical account of revolution, in relation to Marxism. I ar... more A critical analysis of Badiou's philosophical account of revolution, in relation to Marxism. I argue that his philosophy belongs squarely within contemporary Marxist debate, challenging those who see so-called radical democracy as a way forward, within a capitalist-run form of society.
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Papers by David Brancaleone
Questo articolo approfondisce questo aspetto, nei limiti del possibile, affrontando anche il dibattito e l’accusa che circondava Snowden prima ancora che Poitras finesse il film.: intorno alla dicotomia: diritti universali o segreti nazionali di stato?
Questo articolo approfondisce questo aspetto, nei limiti del possibile, affrontando anche il dibattito e l’accusa che circondava Snowden prima ancora che Poitras finesse il film.: intorno alla dicotomia: diritti universali o segreti nazionali di stato?