engleski

A HUNDRED YEARS OF CLASSICAL CINEMA: OSTRANENIE, CINEMA AND OTHER ARTS

The coinage of the term Ostranenie in Shklovsky’s essay coincides with the symbolic birth of classical narrative cinema, the dominant that replaced the early or pre-cinema period whose retrospective unconventionality has since haunted avant-garde and experimental cinema. The paper will sketch how the concept of Ostraniene is embedded in cinema history by tracing its manifestations in some of the prominent definitions of the medium – starting from early film theories by V. Shklovsky (1927), B. Eihenbaum (1927) or E. Panofsky (1934-47), whose fascination with the modern medium relied on the premise of its ontological difference and imperative of breaking with conventions of earlier art forms, especially theatre and novel. In contrast to such media specificity arguments, A. Bazin and others would later propose that the automatized language of classical cinema should be renewed by modelling itself on those of theatre and neighbouring arts. By drawing on examples of film theories by A. Michelson or L. Mulvey (2006), as well as the films of directors such as Godard, Greenaway, Anderson or Trier, the paper will discuss how the concept of ostranenie has continued to inform cinema’s relation to other arts.

ostranenie ("enstrangement"); classical narrative style; still photograpy; tableau;

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