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Film Modernism$
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Sam Rohdie

Print publication date: 2015

Print ISBN-13: 9781784992637

Published to Manchester Scholarship Online: May 2016

DOI: 10.7228/manchester/9781784992637.001.0001

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 05 August 2021

Writing

Writing

Chapter:
(p.227) Writing
Source:
Film Modernism
Author(s):

Sam Rohdie

Publisher:
Manchester University Press
DOI:10.7228/manchester/9781784992637.003.0055

It is difficult if not impossible to know how Histoire(s) du cinéma was made. Certainly it is not a film in the ordinary way which follows a plan, still less a script, not at all a story or a narrative and it is hardly an essay, and it destroys most systems of reference in the usual sense. What then determines not simply the images and sounds that appear but their relations to each other? Much of these seem illogical, undirected, and though it is possible sometimes to perceive an association for the most part these are extremely distant and obscure even if these remote elements ‘suddenly’ fuse and coalesce. The film is not a representation but a manifestation, a demonstration (but of what?), a collection of documents whose order can be stated but whose significance is hard to discern. Above all, the film seems to be a record of the direct experience of making the film itself, an immediacy which results in an abundance of metaphors and signs but outside of the logical or the significant, even beyond control as if the film, in the instantaneities of its associations and linkages, has written itself.

Keywords:   histories, manifestation, demonstration, collection

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