Roberto De Gaetano
This essay examines the contrast between forms and forces, meaning an
opposition which also identifies two different cultural traditions, two
aesthetics, two writing methods, two orders of speech. Since the early
years, cinema has moved along the problematic boundaries of the
coexistence between identity and difference. It has moved between two
aspects: shaping the world – which is what we usually mean by the word
‘representation’ – and having the possibility to capture that which
exceeds, that which crosses the part of the world which is not closed.
Cinema has declared its autonomy, being free from any empiric and
representative determination. From this point of view, the essential
dichotomy at the base of cinema is not between Lumière and Méliès,
meaning between documentary and fiction, but rather between Ejzenštejn
and Epstein. The two real exponents of a theory of cinema which sees the
issue of the relationship between form and force, quality and intensity,
identity and becoming as the most appropriate place to define itself.