Jean-Louis Comolli (born 30 July ) is a French writer, editor, and film director. He was editor in chief of Cahiers du cinéma from to , during which period he wrote the influential essays “Machines of the Visible” () and “Technique and Ideology: Camera, Perspective, Depth of. One does not see so many references to Jean-Louis Comolli these days, which is a shame since the influence of the former editor of the. 16 Jean-Louis Comolli: ‘Technique and Ideology: Camera, Perspec- tive, Depth of Field’ (May-June and July ). 17 Pascal Bonitzer: “Reality” of Denotation’.

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I was so overwhelmed by what was happening around me that nothing panned out the way it had been foreseen.

They prohibited themselves from being entirely followed. Florida State University Press. Because the speech which is represented, if it is taken from a long duration, is a speech which has forms relating to this original duration, even if the duration qnd not present in the final edit.

So they prohibited any filming.

I wrote a script on Giovanni Rossi based on this song, and the research I had undertaken. Having steadily made films over the last 40 years — including the magisterial series on the French electoral machine, Marseille contre Marseille — Comolli has also pursued a prolonged theoretical pre-occupation with the cinema, which, in various ways, is profoundly defined by his earlier participation in Cahiers.

Jean-Louis Comolli

The Century in Cinema European Perspectives: In my following film, Balles perdueswhich is unfortunately lost, I managed to keep this principle. Page 1 of 1 Start over Page 1 of 1. Tecnhique camera records its own way of functioning. It could be said that they are inexhaustible, and that each time they are watched or listened to, they are transformed, they have a different function, the dice are thrown once techniqque.


The Redemption of Physical Reality.

I flatly did not play the role of master director, in total control. This text, as it turns out, marked the era in which it was written. It is very difficult to say, because in this instance the power of what happened on the set totally dominated the entire experience. When you shoot a film, you are filming the death of something, the death of an idea, the death of the bodies, which pass from a real to a virtual existence. The mark of that shoot has always remained with me.

Now, the effectiveness of the public discourse of the Front national has had the effect of simplifying politics, of moving away from interminable debates, moving away from the complexity of every political issue, and thus moving towards a form of politics which resembles advertising, or PR. He liked what he saw and joined the shoot, which led to the film being radically overhauled.

It is difficult for me, today, to believe in contemporary fiction. My father had given me anti-nausea suppositories and in a kind of alcohol-induced delirium I overdosed on these suppositories. Even back then I had read a lot on the Paris Commune and I had already been struck by the emanations of anarchist thought.

Cinema Against Spectacle : Jean-Louis Comolli :

This is a central question for the cinema: It is not yet entirely inaccessible. Technology in idealist theory is assumed to be neutral, rather tecjnique a socially con- structed set of instruments.


To the Distant Observer: At one point, my producer and Tecnhique, because we were in the midst of shooting in Marseilles, said to each other that we were much more interested in this story than in what we were in the process of filming. So the passage to filmmaking practice involved a repression of what went on beforehand, and I found myself all alone, with a film to make. I forgot, or repressed, all the theorico-practical or practico-theoretical considerations which I had formulated in the preceding years, and which proved my value as a film theorist.

Admittedly, in the cinema there is a dose of spectacle, and in the spectacle there is a dose of cinema. We have the extremely precious sentiment, even without knowing why, that we are contemporaneous with what is happening on screen, and that what is happening is not already set in stone.

Language-Games in Film Theory. When it comes down to it, film theory is extremely simple. Nonetheless, they constitute divergent paths. There is qnd with another body, and he takes fright: They show that listening is very important, that it is essential to film with a camera as if it were an ear.

Conversations with Christian Metz Daniel Fairfax. I had a German penpal and we proposed an exchange: In What Is Cinema?

So a whole series of elements ensures that making documentary films is a simplified practice when compared with fiction filmmaking.