In the works of many contemporary filmmakers (Jarman, Caouette, Mekas, Sokurov, Morder, etc.), the diary film corresponds to a poetics based on the plural text (Odin) and the open form (Blanchot). As a virtually infinite collection of filmic snapshots, the diary films represent a sort of anthology which has an undefined and personal direction (De Greef). It is indeed a developing process that, unlike the archive system, can be naturally defective. If on the one hand the archive can be considered as a complete encyclopaedia of cases, corresponding to accurate and univocal classification criteria, on the other hand anthology can be compared to a collection of finds and experiences, without any sign of completeness or irrevocability. Considering the relationship between archive and anthology, we can notice at least two questions about the subjectivity’s appearance in diary practices. Firstly, the subjectivity inserts an opening in the classified materials and introduces an unmanageable element that cannot be reduced within a general criteria. Secondly, the collecting practices, seen as a way to produce controlled worlds of meaning is crossed by subjectivity that always reopens these worlds due to its uncoding nature (Barthes). Presenting a series of case analysis we will see how the individual/subjective element can bear and escape at the same time the classification criteria and the gathering processes.

Nell’opera di molteplici filmmaker contemporanei (Jarman, Caouette, Mekas, Sokurov, Morder, ecc.) il diario filmato si costruisce intorno a una poetica che fa leva sul testo plurale (Odin) e sulla forma aperta (Blanchot). Come una raccolta di istantanee filmiche, potenzialmente infinite, i diari filmati rappresentano una sorta di antologia dall’orientamento indefinito e personale (De Greef). Si tratta infatti di un processo in evoluzione che, a differenza del sistema di archiviazione, può essere per sua natura lacunoso. Se l’archivio può considerarsi equivalente a un’enciclopedia di casi, il più possibile esaustiva e corrispondente a criteri di selezione precisi e univoci, l’antologia può essere assimilata a una collezione di reperti ed esperienze senza alcun carattere di completezza né di irrevocabilità. Nella presentazione del rapporto tra archivio e antologia si possono rilevare almeno due questioni a proposito dell’emersione della soggettività nelle pratiche diaristiche. La soggettività insinua un’apertura non arginabile all’interno dei materiali catalogati e introduce un elemento intrattabile e irriducibile (Nancy) a criteri di ordinamento universale. La catalogazione, intesa come pratica di produzione di mondi di significazione controllati e accessibili, viene attraversata dalla soggettività che riapre continuamente tali mondi introducendo in essi la propria natura incodificabile (Barthes). La presentazione di una serie di casi mostrerà come l’elemento soggettivo/unico/individuale possa sopportare e allo stesso tempo sfuggire i criteri di classificazione e i processi di ordinamento.

Cati, A., Franchin, G., Collecting Lived Experiences. The Diary Film as an Anthology of Daily Life, in Saba, C. G., Federici, F. (ed.), Cinema and Art as Archive. Form, Medium, Memory, Mimesis, Udine 2014: 197- 206 [http://hdl.handle.net/10807/67449]

Collecting Lived Experiences. The Diary Film as an Anthology of Daily Life

Cati, Alice;Franchin, Glenda
2014

Abstract

In the works of many contemporary filmmakers (Jarman, Caouette, Mekas, Sokurov, Morder, etc.), the diary film corresponds to a poetics based on the plural text (Odin) and the open form (Blanchot). As a virtually infinite collection of filmic snapshots, the diary films represent a sort of anthology which has an undefined and personal direction (De Greef). It is indeed a developing process that, unlike the archive system, can be naturally defective. If on the one hand the archive can be considered as a complete encyclopaedia of cases, corresponding to accurate and univocal classification criteria, on the other hand anthology can be compared to a collection of finds and experiences, without any sign of completeness or irrevocability. Considering the relationship between archive and anthology, we can notice at least two questions about the subjectivity’s appearance in diary practices. Firstly, the subjectivity inserts an opening in the classified materials and introduces an unmanageable element that cannot be reduced within a general criteria. Secondly, the collecting practices, seen as a way to produce controlled worlds of meaning is crossed by subjectivity that always reopens these worlds due to its uncoding nature (Barthes). Presenting a series of case analysis we will see how the individual/subjective element can bear and escape at the same time the classification criteria and the gathering processes.
2014
Inglese
Cinema and Art as Archive. Form, Medium, Memory
9788857523552
Cati, A., Franchin, G., Collecting Lived Experiences. The Diary Film as an Anthology of Daily Life, in Saba, C. G., Federici, F. (ed.), Cinema and Art as Archive. Form, Medium, Memory, Mimesis, Udine 2014: 197- 206 [http://hdl.handle.net/10807/67449]
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10807/67449
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