Scratch and Mark: Affective Intermediality Towards Mathilde

Year 2024, Issue: 29, 127 - 144, 31.05.2024

Cansu Yılmaz

https://doi.org/10.56074/msgsusbd.1453809

Abstract

Claire Denis’ cinema relies on in-betweenness of the film medium, combining it with other art forms and media through sensations. Towards Mathilde (2005) documents the correspondence between the director’s own work and that of the famous choreographer, Mathilde Monnier, reflecting on artistic expression, movement, and embodiment with the senses. This article explores the intricate texture of affective intermediality within the film. Interweaving the theories of affect and intermediality within film studies, this analysis delves into the ways in which Denis embodies a wide range of intermedial elements to inspire emotional responses. Through a detailed examination of the use of cinematography, sound design, and music, it uncovers how Denis engages in different arts and media to create a deeply affective cinematic experience. By examining the interplay between visual, auditory, and sense in dance and cinema as two distinct but intertwined art forms, this article aims to illuminate the affective intermediality at work in the film, offering insights into the complex ways in which cinema and dance can move and communicate emotion.

Keywords

Claire Denis, affective intermediality, cinematic body, Affect Theory, choreography

Sıyrık ve İz: Towards Mathilde Filminde Duygulanımsal Medyalararasılık

Abstract

Claire Denis’nin sineması, diğer sanat formları ve medya ile duyumlar aracılığıyla birleşen film mecrasının bu aradalığına dayanır. Towards Mathilde, onun kendi çalışması ile ünlü koreograf Mathilde Monnier’ınki arasında var olan ilişkiyi duygularla kaydeder ve bunu yaparken de sanatsal ifade, hareket ve bedenlenme üzerine düşünür. Bu makale, filmdeki duygulanımsal medyalararasılığın karmaşık dokusunu araştırmaktadır. Film çalışmalarında duygulanım ve medyalararasılık kuramlarını harmanlayan bu analiz, Denis’in duygusal tepkiler uyandırmak için çok çeşitli medyalararası unsurları nasıl kullandığını araştırır. Filmin sinematografi, ses tasarımı ve müzik kullanımının ayrıntılı bir incelemesi yoluyla, ayrıca Denis’in derinlemesine duygusal bir sinema deneyimi yaratmak için farklı sanatları ve medyayı nasıl kullandığını ortaya çıkarır.
Sonuçta iki farklı ama iç içe geçmiş sanat formu olarak dans ve sinemada görsel, işitsel ve duyusal arasındaki etkileşimi inceleyen bu makale, filmde var olan duygusal medyalararasılığı açığa
çıkarmayı ve sinema ile dansın duyguları harekete geçirip temasa kurduğu karmaşık yollara dair
iç görüler sunmayı amaçlar.

Keywords

duygulanımsal medyalararasılık, sinemasal beden, koreografi, Duygulanım teorisi, Claire Denis

References

• Bazin, A. (2004). In defense of mixed cinema. In H. Gray (Ed.), What is cinema? Vol. 1 (H. Gray, Trans., pp. 53-75). Univerity of California Press.
• Beugnet, M. (2007). Cinema and sensation: French film and the art of transgression. Edinburgh University Press.
• Beugnet, M. (2019). Claire Denis. Manchester University Press.
• Bonitzer, P. (2000). Deframings ('Decadrages', Cahiers du cinema 284, January 1978). In (D. Wilson Ed.). Cahiers du cinéma: Volume Four, 1973-1978: History, Ideology, Cultural Struggle: an Anthology from Cahiers Du Cinéma, Nos 248-292, September 1973-September 1978 (Vol. 4) (C. Darke, Trans.), (pp. 197-203). Routledge.
• Clough, P. T. (2007). Introduction. In (P. T. Clough, & J. Halley Eds.), The affective turn: Theorizing the social. Duke University Press.
• Deleuze, G., & Guattari, F. (1994). What is philosophy? (H. Tomlinson, & G. Burchell, Trans.). Columbia University Press.
• Denis, C. (1996, March). Interview with Claire Denis: Colonial Observations. 67-72. (M. A. Reid, Interviewer). Jump Cut.
• Denis, C. (2000, June 28). Claire Denis interviewed by Jonathan Romney. (J. Romney, Interviewer). The Guardian/NFT interview.
• Denis, C. (Director). (2005). Vers Mathilde [Motion Picture]. France.
• Elsaesser, T., & Hagener, M. (2009). Film theory: An introduction through the senses. Routledge.
• Hole, K. L. (2016). Towards a feminist cinematic: Ethics claire denis, Emmanuel Levinas and Jean-Luc Nancy. Edinburgh University Press.
• Marks, L. U. (2000). The skin of the film: Intercultural cinema, embodiment, and the senses. Duke University Press.
• Marks, L. U. (2018). Affective analysis. In C. Lury, R. Fensham, A. Heller-Nicholas, S. Lammes, A. Last, M. Michael, & E. Uprichard (Eds.), Routledge handbook of interdisciplinary research methods (pp. 152-157). Routledge.
• Massumi, B. (1987). Notes on the translation and acknowledgments. In G. Deleuze, & F. Guattari, A thousand plateaus: Capitalism and schizophrenia (pp. xvi-xix). University of Minnesota Press.
• Massumi, B. (2002). Parables for the virtual: Movement, affect, sensation. Duke University Press.
• Monnier, M., Nancy, J.-L., & Denis, C. (2005). Allitérations: Conversations sur la danse. Galilée.
• Nancy, J.-L. (2017). Dance as image – image as dance. In G. Brandstetter, & H. Hartung (Eds.). Moving (Across) borders: Performing translation, intervention, participation (pp. 43-54). transcript Verlag.
• Paech, J. (2011). The intermediality of film. Acta Universitatis Sapientiae, Film and Media Studies, (4), 7-21.
• Peterson, S. (1978). Cine dance and two notes. In P. A. Sitney (Ed.). The avant-garde film: A reader of theory and criticism (pp. 74-79). Anthology Film Archives.
• Pethő, Á. (2011). Cinema and intermediality: The passion for the in-between. Cambridge Scholars Publishing.
• Pethő, Á. (2015). Introduction: Possible questions in “sensuous” film studies. In Á. Pethő (Ed.), The cinema of sensations (pp. 1-12). Cambridge Scholars Publishing.
• Pethő, Á. (2023). Tacita Dean’s affective intermediality: Precarious visions in-between the visual arts, cinema, and the gallery film. Arts, 12 (168).
• Rajewsky, I. O. (2005). Intermediality, intertextuality, and remediation: A literary perspective on intermediality. Intermédialités : histoire et théorie des arts, des lettres et des techniques / Intermediality: History and Theory of the Arts, Literature and Technologies(6), 43-65.
• Sedgwick, E. K. (1997). Shame and its sisters: A Silvan Tomkins reader. Duke University Press.
• Sedgwick, E. K. (2003). Touching feeling: Affect, pedagogy, performativity. Duke University Press.
• Seigworth, G. J., & Gregg, M. (2010). An inventory of shimmers. In M. Gregg, & G. J. Seigworth (Eds.), The affect theory reader. Duke University Press Books.
• Shaviro, S. (2010). Post-cinematic affect. Zero Books.
• Smith, G. (2006, January-February). Interview: Claire Denis. Retrieved Mart 5, 2024, from Film Comment: https://www.filmcomment.com/article/claire-denis-interview/
• Sobchack, V. (2004). Carnal thoughts: Embodiment and moving image culture. University of California Press.
• Tomkins, S. S. (1995). Exploring affect: The selected writings of Silvan S. Tomkins. (E. V. Demos, Ed.) Cambridge University Press.
• Trager, G. L. (1958). Paralanguage: A first approximation. Studies in Linguistics(13), 1-12.
• van de Velde, D. (n.d.). In the Cracks: Claire Denis’s cinematic choreographies. In P. Sloane (Ed.), Refocus: The films of Claire Denis (pp. 166-181). University of Edinburgh.