The Beauty of the Act: Figuring Film and the Delirious Baroque in 'Holy Motors'
Date
2014
Authors
Walton, S.
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Journal article
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NECSUS, 2014; 3(1):245-265
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Abstract
Leos Carax’s metamorphic Holy Motors (2012) has been received as evading conceptual, physical, and cinematic coherence. Drawing on Gilles Deleuze’s concept of the fold and Nicole Brenez’s work on the figural powers of the cinema, this article argues that Carax’s film reprises the aesthetics of a delirious baroque. Re-evaluating the relevance of the baroque for Carax and for cinema,it identifies the delirious baroque as an embodied aesthetics of movement, materiality, and multiplicity as well as vision.
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Copyright 2014 Walton / Amsterdam University Press.This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creative commons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in anymedium, provided the original work is properly cited.