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Epilogue
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The epilogue discusses the possibility of a true ‘aesthetics of place’. It shows that in some of the films of Chantal Akerman, Avi Mograbi (Part 1 & 2), the houses are not residences any more, they have become spaces where interior powers and exterior forces clash and collide. They form an archipelago of disparate poetic and political dwellings. The author further concludes that Pedro Costa, Tariq Teguia and Pier Paolo Pasolini (Part 3) create in their ‘real fictions’ an unbreakable bond, between the outskirts of the city and their characters. The epilogue also shows that Danièle Huillet and Jean-Marie Straub, Philippe Grandrieux, Lisandro Alonso and Naomi Kawase (Part 4) go beyond forests’ obvious symbolic function and grant them a sensory power, an existential dimension, an economic identity. Finally, it shows that filmmakers such as Bela Tarr, Bruno Dumont and Sharunas Bartas (Part 5) choose to ‘restore’ the broken, chaotic, desolate places they depict. Their narratives present a hyle, which in no way discredits or demeans the lives of the men who inhabits those ‘nowheres’.
Title: Epilogue
Description:
The epilogue discusses the possibility of a true ‘aesthetics of place’.
It shows that in some of the films of Chantal Akerman, Avi Mograbi (Part 1 & 2), the houses are not residences any more, they have become spaces where interior powers and exterior forces clash and collide.
They form an archipelago of disparate poetic and political dwellings.
The author further concludes that Pedro Costa, Tariq Teguia and Pier Paolo Pasolini (Part 3) create in their ‘real fictions’ an unbreakable bond, between the outskirts of the city and their characters.
The epilogue also shows that Danièle Huillet and Jean-Marie Straub, Philippe Grandrieux, Lisandro Alonso and Naomi Kawase (Part 4) go beyond forests’ obvious symbolic function and grant them a sensory power, an existential dimension, an economic identity.
Finally, it shows that filmmakers such as Bela Tarr, Bruno Dumont and Sharunas Bartas (Part 5) choose to ‘restore’ the broken, chaotic, desolate places they depict.
Their narratives present a hyle, which in no way discredits or demeans the lives of the men who inhabits those ‘nowheres’.
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