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2024-01-08
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Universidad Nacional de Educación a Distancia (España). Signa: Revista de la Asociación Española de Semiótica
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Este artículo analiza la poética letrista del filme Traité de bave et d’éternité (1951), de Isidore Isou, desde el marco teórico abierto por Jean-François Lyotard en su obra Discours, figure (1971). Sin embargo, este texto no solo pretende redundar en el interés metodológico de esta categoría como herramienta para analizar el cine experimental, sino también enfatizar las particularidades compartidas por el letrismo isouniano —especialmente el montaje discrepante— y la primera estética de Lyotard. Las conclusiones permitirán advertir la precocidad de las propuestas de Isou y cuestionar el relato hegemónico del cine experimental estadounidense, así como la posición incierta de Traité de bave et d’eternité en la historia del arte y del cine tradicionales.
Abstract: This article analyzes the lettrist poetics of Isidore Isou’s film Traité de bave et d’éternité (1951) from the theoretical framework opened by Jean-François Lyotard in Discours, figure (1971). This text not only intends to highlight the methodological interest of the aesthetic category of the “figural” as a tool for analyzing experimental cinema, but also to emphasize the particularities shared by Isounian lettrism —especially the discrepant montage— and Lyotard’s first aesthetics. The conclusions will allow us to notice the precocity of Isou’s proposals and to question the hegemonic account of American experimental cinema, as well as the uncertain position of Traité de bave et d'eternité in the history of art and cinema.
Keywords: Experimental cinema. History of film. Discrepant montage. Avant-gardes. Jean-François Lyotard. Isidore Isou. Traité de bave et d’eternité.
This article analyzes the lettrist poetics of Isidore Isou’s film Traité de bave et d’éternité (1951) from the theoretical framework opened by Jean-François Lyotard in Discours, figure (1971). This text not only intends to highlight the methodological interest of the aesthetic category of the “figural” as a tool for analyzing experimental cinema, but also to emphasize the particularities shared by Isounian lettrism —especially the discrepant montage— and Lyotard’s first aesthetics. The conclusions will allow us to notice the precocity of Isou’s proposals and to question the hegemonic account of American experimental cinema, as well as the uncertain position of Traité de bave et d'eternité in the history of art and cinema.
This article analyzes the lettrist poetics of Isidore Isou’s film Traité de bave et d’éternité (1951) from the theoretical framework opened by Jean-François Lyotard in Discours, figure (1971). This text not only intends to highlight the methodological interest of the aesthetic category of the “figural” as a tool for analyzing experimental cinema, but also to emphasize the particularities shared by Isounian lettrism —especially the discrepant montage— and Lyotard’s first aesthetics. The conclusions will allow us to notice the precocity of Isou’s proposals and to question the hegemonic account of American experimental cinema, as well as the uncertain position of Traité de bave et d'eternité in the history of art and cinema.
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Cine experimental. Montaje discrepante. Jean-François Lyotard. Isidore Isou. Traité de bave et d’eternité., Experimental cinema. History of film. Discrepant montage. Avant-gardes. Jean-François Lyotard. Isidore Isou. Traité de bave et d’eternité.