Abstract
The opening sequence of Gerry by Gus Van Sant depicts one of the most iconic landscapes in American film, and from two genres: Westerns and road movies. The road that appears on the screen cuts through a desert landscape, passing shrubs, hillocks and reddish-brown soil. An off-yellow car, covered with dust, inside which we see two silhouettes from behind, is rolling slowly over the asphalt. There is nothing but asphalt and empty space: the horizontality of the wide panoramic shots extends off screen, spreading out off camera, surrounding the spectator with light and blue sky around the slow-moving dust cloud. This shot lasts several minutes, without any credits rolling, until after a cut the faces of the two characters appear through the car’s windshield: they are not speaking, and their expressions are almost impossible to interpret as they continue driving along. Are they sad? Pensive? Tired? Not a word, no explanation is given. The third shot also fails to initiate the plot’, with the description continuing through images: the ‘subjective’ first-person camera angle puts the viewer’s gaze in parallel with that of the characters, cutting across the desert, the landscape and the huge, thin clouds. The characters stop their car and, without a word, begin to walk into the desert. This will continue until the film is nearly over, for a good hour and a half.
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Notes
Does anything really happen in Van Sant’s movie. http://www.geraldpeary.com/interviews/stuv/van-sant.html. Accessed 30 May 2013.
See Jacques Rancière (1998) La Parole Muette (Paris: Hachette).
See Jean-Francois Lyotard (1993) The Postmodern Condition: A Report on Knowledge trans. Geoff Bennington and Brian Massumi (Minneapolis: University of Minnesota Press). Lyotard explores the new forms of circulation of capital in postindustrial and postmodern societies and transformation of knowledge into commodity, foreseeing that nation-state power will fight for the control of information as much as in the past nation states were fighting for the control of territories.
Stendhal (1952) Le Rouge et le Noir: Romans et Nouvelles (Paris: Gallimard, Bibliothèque de la Pléiade), p. 273.
Stendhal’s characters are ‘ergoteurs’ (ergo=therefore, from the famous Descartes’ Cogito ergo sum). See Léon Blum (1947) Stendhal et le Beylisme (Paris: Albin Michel), p. 140. On Stendhal’s descriptions, Georges Blin (1954) Stendhal et les problèmes du roman (Paris: Éditions José Corti). Some critics talk about Stendhal’s cinematographic style:
see Laurent Jullier and Guillaume Soulez (2006) Stendhal: Le désir de cinéma and Privilèges du 10 avril 1840 de Stendhal (Paris: Séguier);
and François Jost (1987) L’ceil-caméra: Entre film et roman (Presses universitaires de Lyon: Lyon).
Maurice Blanchot (1973) La Folie du jour (Paris: Fata Morgana); (1981) The Madness of the Day. Trans. Lydia Davis (Barrytown, NY: Station Hill Press), p. 14. 16. Samuel Beckett (1953) L’Innomable (Paris: Édition s de Minuit). Last novel of a trilogy, after Molloy and Malone Dies. Adapted by Beckett into English (1953) The Unnamable (London: Grove Press), p. 380.
See Ali Benmakhlouf (2001) ‘G. Frege sur la négation comme opposition sans force’, Revue de métaphysique et de morale 30, pp. 7–19.
Gustave Flaubert (1980) Correspondance II (Paris: Gallimard, ‘Bibliothèque de la Pléiade’), p. 31. My emphasis. 24. Marcel Proust (1971) ‘À propos du style de Flaubert’ in Essais etArticles, Contre Sainte-Beuve (Paris: Gallimard, ‘Bibliothèque de la Pléiade’), p. 587.
Claude Brémond (1966) ‘La logique des possibles narratifs’ Communication 8, pp. 60–76. The journal Communication played an important role in the whole stmcturalist turn.
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© 2014 Patrizia Lombardo
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Lombardo, P. (2014). Minimalist Aesthetics in Gerry . In: Memory and Imagination in Film. Language, Discourse, Society. Palgrave Macmillan, London. https://doi.org/10.1057/9781137319432_7
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DOI: https://doi.org/10.1057/9781137319432_7
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