By Jean-Luc Nancy
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Extra info for Abbas Kiarostomi : The Evidence of Film
Meeting ground of an empirical sociology and a conceptual elaboration; but also the fact that it ... happens to be the stake in any revolutionary renewal of culture and politics. "ll Debord wrote these words at a time when the everyday had become the ground of a continual revolution, when to consider the concept of the everyday "would imply the necessity of an integral political judgement. "12 By May 1968, a suspicion of representation, and of any form of social representativeness, encompassed every institution, including that of art cinema.
In a way, then, the energy around the concept of the everyday was nourished by disillusionment and disappointment over the rampant institutionalization of power after the war, in the spheres of leftist politics and academia as elsewhere. Lefebvre's revision of his inaccurate understanding of capitalism as a The Everyday in Postwar Realist Cinema 27 localized (affecting mostly the infrastructure) rather than a widespread force went hand in hand with the emergence of critical terms geared toward capitalist society as a whole: consumer society, the "bureaucratic society of controlled consumption" (Lefebvre, 1971).
The quotidian stands, then, both for material reality and for the impossibility fully to account for it, to represent it. Hence the desire to represent materiality either concretely, by exacerbating cinematic elements, or thematically, by inscribing the signs of this reality (banal events, mundane gestures, actions irrelevant to the plot), becomes the trademark of a realist impulse. In historicizing the interest in everyday life, Lefebvre relates how, in the period immediately after World War II, the hopes for a "second liberation"-the "social change that was to follow ...