Cinema

What Dominique Pagani says

Dominique Pagani does not devote a session to cinema. He uses it as a point of support in analyses about other subjects. In the cycle on memory, he contrasts the Soviet space station in Tarkovsky's Solaris, neglected and inhabited by a female figure, with the smooth station in Kubrick's 2001, where there is no love story: there, the organic body is out of place in the world of the future1. He returns to 2001 to illustrate the supernaturalist point of view, which explains man through an intervention from elsewhere: the monolith moves the hominids from the organ to the tool. He also cites Forbidden Planet to show that the subject cannot be reduced to its consciousness2. In the cycle on hesitation, he screens long excerpts from Syberberg's film of Parsifal. He notes that the film follows the score from beginning to end, uses collage and shows, as Wagner intended, a young, stammering Parsifal3.

1. 1#10 Bien-et Mé-faits de l'amnésie...24 Dec 2020
2. 2#2 Lénine ou les ailes du rêve18 Apr 2021
3. 3L’hésitation fascinée par l’ouÏe et par la vue : Siegfried et Perceval12 Dec 2022

Introduction produced automatically from the 3 sessions on this theme, to be reviewed; the numbers link to the sessions.