Wicked Problems in Design Thinking
Трудные проблемы в дизайн-мышлении
1992-01-01
SCID: 54.1/tzwc5g7c
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Jacques RancièreJean-Luc Godardfilm as recordfilm prophecypolitical propositions
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Abstract (AI)
Abstract Only critical distancing let Godard value the premonitory potential of film, and at the same time, point out the incapacity to register the realness that it generated. The filmmaker has always believed that “film is prophetic, it predicts and announces things”, and that this condition corresponds to its essence as a record. Rancière in a lucid reading of Film History says that for Godard: “film is responsible for not filming fields in their time; great for filming them before their time and guilty for not knowing how to recognize them”. This article begins with these clear political propositions, as well as proposing some variations.
Key Findings
1
Critical distancing enables recognition of cinema’s premonitory potential while exposing its inability to register the realness it produces.
2
Drawing on Rancière’s reading of Film History, the article highlights cinema’s political responsibility for failing to film realities in their own time.
3
Godard’s cinema is portrayed as simultaneously prescient for recording realities before their time and culpable for failing to recognize them when they occur.
4
The article develops variations on these political propositions concerning cinema, temporality, recording, and recognition.
5
The article examines Godard’s view of film as prophetic, arguing that film predicts and announces events through its nature as a record.
Research Object
Design thinking as a problem-framing and creative practice
Research Subject
the tension between film’s premonitory potential and its incapacity to register reality in its own time
Publication Details
Publication Date
1992-01-01
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