https://www.peren-revues.fr/revue-k/243 Entrées d’index fr 0 https://www.peren-revues.fr/revue-k/1559 Unlike Ettore Majorana, who chose silence and self-exclusion, Oppenheimer not only did not “refuse science” (Sciascia), but became a public witness to the emergence of a new role for the modern scientist. He chose to make himself visible, consistent with the experience of having seen something no one before him had even imagined. In Christopher Nolan’s hands, the journey that led to the creation of the first atomic bomb is portrayed as the progressive attainment of a secret vision of the world – not only by the scientist, but by cinema itself. sam., 05 juil. 2025 18:19:58 +0200 sam., 05 juil. 2025 18:25:29 +0200 https://www.peren-revues.fr/revue-k/1559 https://www.peren-revues.fr/revue-k/681 For his own, very personal reinterpretation of the figure of Joan of Arc in his feature film Jeanne la Pucelle (1994), Jacques Rivette chose the actress Sandrine Bonnaire. Such a choice was incontestably influenced by earlier roles performed by Bonnaire (such as Agnès Varda’s Sans toit ni loi, 1985), but also arguably motivated by some of her own personal biographical circumstances. Strength of mind, physical perseverance, alleged illiteracy and tendency toward mysticism are but a few features common to both the historical character of Jeanne and of Sandrine (Bonnaire). mer., 10 janv. 2024 15:52:29 +0100 mer., 05 juin 2024 14:19:29 +0200 https://www.peren-revues.fr/revue-k/681 https://www.peren-revues.fr/revue-k/630 The contribution proposes to read the conceptual figure of Joan of Arc in the light of the absence of her face delivered to us by history. If her appearance was immediately inscribed in the prophetic order of the sign and, in the process that will condemn her to death, in the juridical order of discourse and in that of history, Bresson’s cinema will be able to consign her image to the void that crosses it. In the editing and automatic voice of the model, Jeanne appear as an infigurable grace that dislocates discourse, politics, history. Starting from the excess that her paradoxical sovereignty constitutes, it will be possible to deconstruct the idea of the people that on her icon, on the historical capture of her event, it has been possible to establish. lun., 08 janv. 2024 12:08:43 +0100 mer., 05 juin 2024 13:57:19 +0200 https://www.peren-revues.fr/revue-k/630 https://www.peren-revues.fr/revue-k/719 The essay aims to reconstruct the relationship between Malevič and Ejzenštejn toward their essays on cinema and picture. By examining the words of two important actor of art life in post-revolutionary Russia, the essay lets emerge two different conception of art and its tasks in the newborn communist society. jeu., 11 janv. 2024 12:02:27 +0100 jeu., 15 févr. 2024 15:01:21 +0100 https://www.peren-revues.fr/revue-k/719 https://www.peren-revues.fr/revue-k/242 This paper means to examine the theoretical and visual trait of Jean-Luc Godard’s Adieu au langage (2014). The movie questions the efficacy of language for the orienting of the gaze. The matter is that the poverty of language can be pursued but cannot be obtained from within the language itself. On the contrary, the dog, the actual leading character of Godard’s movie, is not naked since he cannot help but be naked. In this sense, one can affirm that the appearances of the dog in Adieu au language represent the reversal of Franz Kafka’s Investigations of a Dog (1922, posthumously published in 1931). Whilst Kafka is the writer who approaches more closely the impersonality of the images, the dog “imprisoned” in his book never accomplishes the “goodbye to language”. After all, Kafka’s dog is identical to the woman undressing and dressing herself in the sitting room in Godard’s movie. mer., 29 nov. 2023 10:39:19 +0100 mar., 13 févr. 2024 09:20:37 +0100 https://www.peren-revues.fr/revue-k/242 https://www.peren-revues.fr/revue-k/565 Mime is a central figure in Gilles Deleuze’s Logic of Sense. Starting with a reprise of Deleuzian reference to mime, this essay would try to analyse the re-emergence of mime within the French philosopher's reflection on cinema through the paradigmaticity of the most famous of Charlie Chaplin’s inventions: Charlot. mer., 03 janv. 2024 14:12:20 +0100 mer., 03 janv. 2024 15:09:32 +0100 https://www.peren-revues.fr/revue-k/565 https://www.peren-revues.fr/revue-k/559 Charles Chaplin created his character Charlot, called too The tramp during the 1910s. Vagabond, lonely and unlucky, this character has been placed by Chaplin in several situations which he could not control. By using tragic codes to make some comic dimension in action movies with fast pace, Chaplin, with this unfortunate character, became the most famous burlesques filmmakers. His influence makes itself felt still today. mer., 03 janv. 2024 11:51:33 +0100 mer., 03 janv. 2024 11:51:49 +0100 https://www.peren-revues.fr/revue-k/559