Cinema portrays, creates and decodes landscape, while proceeding as its allegory. Echoing its spatial display of physical elements and confronting it with a soundscape, filmic landscape addresses subjectivity, culture, ideology and theory through the contemplation of what is frequently located at the background of the shot. The background’s autonomy, stated by the mise-en-scène, dispositif and the audience, allows for landscape to emerge, revealing it also as a rhetoric process that implies a self-reflexive gaze.
Moving-image practices also take in the minutiae of what would usually stand as the background in a narrative film as the subject matter for a reflection on history, materiality and situatedness. A film becomes the place where the actualization of the filmed material landscape happens and its connection to its outside and its multiple temporalities becomes evident. Landscape as already cinematic.
A centrifuge and fragmented image, filmic landscape renders atmosphere – Stimmung – and functions as a dramatization element, ‘a sort of polyptych, disseminated, repeated or altered according to a space-organising narrative necessity. Ever vibrant in itself, ‘landscape is the freest element of film, the least burdened with servile, narrative tasks, and the most flexible in converging moods, emotional states, and spiritual experiences’. We invite proposals for individual visual works, individual papers and pre-constituted panels (3 speakers) on topics related to landscape and cinema.
Call for papers