Cristóbal Escobar
Biographic Data
| ID | 3601593 |
|---|---|
| NAME | Cristóbal Escobar |
| GIVEN NAMES | Cristóbal |
| FAMILY NAME | Escobar |
| SIGNATURE | ESCOBAR C |
| AFFILIATIONS | The University of Melbourne |
| ORCID | 0000-0003-2061-7641 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Mestizo realism: Impure aesthetics in Carlos Reygadas’s Battle in Heaven (2005)
The aesthetics of mestizaje is not a pure aesthetics. It is a negotiation between divergent poetics that superimposes a complex layering of sources and cultural traditions, creating a baroque form of realism that, by definition, is border-crossing. This reliance on mestizaje as an aesthetic principle is characterized by a fragmented style that, in the case of Carlos Reygadas’s cinema, is eminently experimental: it refers to a contradictory and co…
The Con·temporary in Cinema
This article examines some epistemological aspects of the notion of the contemporary in order to trace an image that is turned towards its past while also looking into the future. This is the Con•temporary in cinema; an image invested with temporality that brings together the old and the new by manifesting an ideal continuity along its path. Aby Warburg’s Mnemosyne Atlas and Jean-Luc Godard’s Histoire(s) du cinéma will be used as two examples to …
The Intensive-Image in Deleuze's Film-Philosophy
This book argues that the intensive-image constitutes an important cinematic category that prompts a rethinking of Deleuze’s taxonomy of images in his Cinema 1: The Movement-Image and Cinema 2: The Time-Image . I explore the proposition that the notion of intensity has the potential to change the way in which we think about Deleuze’s classification of films as signifying two separate periods, the classical period of the movement-image and the mod…
The Intensive-Image and the Poetic Film Tradition: Notes on Ruiz, Deren, Pasolini, Buñuel and Deleuze
This article analyses an important category from Deleuze's philosophy – the notion of intensity – and explores its significance for Deleuze and the ways it can be used to think about poetic cinema. I use the concept of the intensive-image to define a cinematic style that dissipates narrative action in favour of more contemplative and sensory experiences, hence films that are able to turn onscreen reality into purely affective phenomena. The notio…
The Intensive-Image in Deleuze's Film-Philosophy
Introduces the concept of the intensive-image" to develop a deeper understanding of the part played by intensity in the history of the cinematic image The book develops the original concept of the intensive-image in order to open up a new and important understanding of the part played by intensity in the history of the cinematic image Escobar explore the significance of the notion of intensity in Deleuze’s philosophy and the ways it can be used t…
Zama and the Politics of Contamination: From Di Benedetto's Novel to Martel's Film
This article examines Lucrecia Martel’s Zama (2017) and her transposition from Antonio Di Benedetto’s book (1956) of the same name. I argue that Martel’s film is able to “de-visualise” the mobility and visuality of Di Benedetto’s text by pushing his elusive images towards higher levels of cinematic abstraction. More broadly, I claim that the film Zama is exemplary of what Martel calls “contamination” - that is, a term the ancient Romans employed …
The Colliding Worlds of Anthropology and Film-Ethnography: A Dynamic Continuum
The article explores three consecutive periods in which the disciplines of anthropology and film ethnography collide. The first moment examines the common practice of Bronislaw Malinowski and Robert Flaherty’s Nanook of the North. I argue that Flaherty’s film illustrates the general fieldwork schema proposed by Malinowski to document the world of the Other-native. The second period connects the writings of Marcel Mauss and his influence in Jean R…
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The Colliding Worlds of Anthropology and Film-Ethnography: A Dynamic Continuum
The article explores three consecutive periods in which the disciplines of anthropology and film ethnography collide. The first moment examines the common practice of Bronislaw Malinowski and Robert Flaherty’s Nanook of the North. I argue that Flaherty’s film illustrates the general fieldwork schema proposed by Malinowski to document the world of the Other-native. The second period connects the writings of Marcel Mauss and his influence in Jean R…
The Intensive-Image in Deleuze's Film-Philosophy
This book argues that the intensive-image constitutes an important cinematic category that prompts a rethinking of Deleuze’s taxonomy of images in his Cinema 1: The Movement-Image and Cinema 2: The Time-Image . I explore the proposition that the notion of intensity has the potential to change the way in which we think about Deleuze’s classification of films as signifying two separate periods, the classical period of the movement-image and the mod…
The Intensive-Image and the Poetic Film Tradition: Notes on Ruiz, Deren, Pasolini, Buñuel and Deleuze
This article analyses an important category from Deleuze's philosophy – the notion of intensity – and explores its significance for Deleuze and the ways it can be used to think about poetic cinema. I use the concept of the intensive-image to define a cinematic style that dissipates narrative action in favour of more contemplative and sensory experiences, hence films that are able to turn onscreen reality into purely affective phenomena. The notio…
The Intensive-Image in Deleuze's Film-Philosophy
Introduces the concept of the intensive-image" to develop a deeper understanding of the part played by intensity in the history of the cinematic image The book develops the original concept of the intensive-image in order to open up a new and important understanding of the part played by intensity in the history of the cinematic image Escobar explore the significance of the notion of intensity in Deleuze’s philosophy and the ways it can be used t…
Zama and the Politics of Contamination: From Di Benedetto's Novel to Martel's Film
This article examines Lucrecia Martel’s Zama (2017) and her transposition from Antonio Di Benedetto’s book (1956) of the same name. I argue that Martel’s film is able to “de-visualise” the mobility and visuality of Di Benedetto’s text by pushing his elusive images towards higher levels of cinematic abstraction. More broadly, I claim that the film Zama is exemplary of what Martel calls “contamination” - that is, a term the ancient Romans employed …
Mestizo realism: Impure aesthetics in Carlos Reygadas’s Battle in Heaven (2005)
The aesthetics of mestizaje is not a pure aesthetics. It is a negotiation between divergent poetics that superimposes a complex layering of sources and cultural traditions, creating a baroque form of realism that, by definition, is border-crossing. This reliance on mestizaje as an aesthetic principle is characterized by a fragmented style that, in the case of Carlos Reygadas’s cinema, is eminently experimental: it refers to a contradictory and co…
The Con·temporary in Cinema
This article examines some epistemological aspects of the notion of the contemporary in order to trace an image that is turned towards its past while also looking into the future. This is the Con•temporary in cinema; an image invested with temporality that brings together the old and the new by manifesting an ideal continuity along its path. Aby Warburg’s Mnemosyne Atlas and Jean-Luc Godard’s Histoire(s) du cinéma will be used as two examples to …
Art (4 works) · Art history (3 works) · Computer Science (3 works) · Epistemology (3 works) · Movie theater (3 works) · Philosophy (3 works) · Aesthetics (2 works) · Aesthetics (2 works) · Cinema and Media Studies (2 works) · History (2 works)