Ο Χώρος και ο Χρόνος στα Φτερά του Έρωτα by Avrokomi Zavitsanou

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Abstract The (post)modern experience encountered by the contemporary man in space and time seems to be the focal point of Wim Wenders’ contemplations, since the urban setting, as well as the movement inside it play an immense part in his cinematographic work. In this study we investigate the way, that the urban experience becomes observable in the movie Wings of Desire through the angels and humans perception of space and time, through the movement that the urban means of transport offer, and through the movement of the camera itself. The conclusions reached will concern the placement of the movie itself in the (post)modern setting that Wenders constructs for his leading characters.

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Uordwell, D., 5.-., +-2!8*85 2#30 E.403 #'( 6-03µ!#'8%&9'( @H2(", 7.&K6+$5D P#&?µ" 4H($52, 3&"0/N),, 2009, 193.

4isenstein, S., “Montage and Architecture”, Assemblange, 10, :%5/µ>&$., 1989, 111131.

Deleuze, G., D.0., 49.

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1_Barber, S., Projected cities: cinema and urban space, London, Reaction Books, 2002. 2_Benjamin, W., Paris, Capital of the 19th century, *+. Benjamin, W., Jephcott, E., Reflections : essays, aphorisms, autobiographical writtings, Knopf Doubleday, 1986. 3_Benjamin, W., S';1µ-! 8-! #30 #.403, µ+K&. G.'&+.>$5, :., @H2(", G-8>.,, 1978. 4_Bordwell, D., Thompson, K., E-2!8*85 2#30 #.403 #'( ;-03µ!#'8%&9'(, µ+K&. G.55$(!#), G., @H2(", 7.&K6+$5D P#&?µ" 4H($52, 3&"0/N),, 2009. 5_Baudrillard, J., Simulacra Michigan Press, 1994.

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Michigan,

University

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17_Harvey, D., F ;!#&2#!23 #3: µ$#!0$*#$%-;?#3#!:, <-$%$B0323 #*0 !,!%4=0 #3: ,'@-#-2#-;5: µ$#!G'@5:, µ+K&. @*+%&!.?, 4., @H2(", 7%+"!;µ$.,2007. 18_Jameson, F., The geopolitical Aesthetic-cinema and space in the world system, London, Indiana University Press, 1992. 19_Jameson, F., E' µ$#!µ'0#.%0', 5, F ,'@-#-2µ-;5 ;!,-#!@-2µ'B, µ%+K&. U-&*.,, S., W%K/8), 1999.

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#'(

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4.S.,

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39_Simmel, G., R?@3 ;!- /(45, µ+K&. Y?5$"&#D0.?8.,, S., @H2(", 4&"*µ.,,1993. 40_Simmel, G., R$%-,@&0323 2#3 0$*#$%-;?#3#!: ;'-0*0-'@'8-;&, 9-@'2'9-;& ;!!-2>3#-;& ;$1µ$0!, µ+K&. 9"<5&$A+),, S., 9+"H-+.?, V., @H2(", @8%L-(#&%$", 2004. 41_Sorlin Pierre, 6'-0*0-'@'81! #'( ;-03µ!#'8%&9'(: µ$@@'0#-;5 -2#'%1!, @H2(", 7%+"!;µ$., 2006. 42_Sorlin Pierre, +(%*,!L;?: 1990, @H2(", W%K/8), 2004. 43_9+"?&!#),, 9., S&-µµ"+", 2002.

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44_Studio E.U. et.al., Berlin Wall(k), *+. Ferguseon, F., Talking cities:the micropolitics of urban space, Basel, Boston, Berlin, Birkhauser, 2006. 45_Sturken, M., Thomas, D., S.J., Ball-Rokeach, Philadelphia, Temple University Press, 2004. 46_Thompson, K., Bordwell, McGraw-Hill, 2003. 47_3&$"(+"K'88.?, 1990.

9.,

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D.,

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6-03µ!#'8%!93µ.0$:

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49_Wenders, W., F @'8-;5 #*0 $-;?0*0: ;$1µ$0! ;!7"($-+),, 1., 1%&#$5.<$-((),, S., @H2(", 9/8",, 1991. 50_Wenders, W., Emotion Pictures: Essays Frankfurt, %5#. +.? *?<<&"K/", 1986.

und

visions,

Boston,

9'<;&.()

spaces,

Oxford,

2(0$0#$BD$-:,

Filmkritiken,

40.;2,

UK:

µ+K&.

1968-1984,

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H.,

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54_Wenders, W., Handke, P., Der Himmel über Berlin: ein Filmbuch, Frankfurt am Main, Suhrkamp, 1987. F$E$(

1_Casarino, C., “Fragments on ‘Wings of Desire’”, Social Text, 24, 1990, 167-181. 2_Caldwell, D., Rea, P.W., “Handke's and Wenders's Wings of Desire: Transcending Postmodernism”, The German Quarterly, 64, No1, X%$µA(", 1991, 46-54.

3_Claydon, A., “CityScope: The Cinema and the City”, GBER, 5, W.1, 57-68. 4_4isenstein, S., “Montage and Architecture”, Assemblange, 10, :%5/µ>&$., 1989, 111-131. 5_ Kyndrup, M., “Like a Film, Like a Child, Knowledge and being in Wings of Desire”, P.O.V., Danish journal of Film Studies, No 8, :%5/µ>&$., 1999. 6_Light, @., “Wim Wenders and the Everyday Aesthetics of Technology and Space”, The Journal of Aesthetics and Art Criticism, 55, \(.$L) 1997, 215229. 7_Oksiloff, @., “Eden is Burning: Wim Wenders's Techniques of Synaesthesia”, The German Quarterly, 69, C%$µA(", 1996, 32-47. 8_Paneth, I., “Wim and his Wings”, Film Quarterly, 42., No1., EH$(D06&. 1988, 2-8. 9_Rogowski, C., “‘To be continued’: History in wim Wender’s Wings of Desire and Thomas Brach’s Domino”, German Studies Review, 15, W.3, B5+A>&$., 1992, 547-563.

G%'5µ)(

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H6/'-$%+)'=& B7;=&

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Song of Childhood #'( Peter Handke When the child was a child it walked with its armw swinging, wanted the Brook to be a river, the river to be a torrene, and this puddle to be the sea. When the child was a child, it didnâ&#x20AC;&#x2122;t know that it was a child, everything was soulfull, and all souls were one. When the child was a child, it had no opinion about anything, had no habits, it often sat cross-legged, took off running, had a cowlick in its hair, and made no faces when photographed. When the child was a child, it was the time for these questions: Why am I Me, and why not you? Why am I here, and why not there? When did time Begin, and where does space end? Is life under the sun just a dream? Is what I see and hear and smell not just an illusion of a world before The world? Given tha facts of evil and people. Does evil really exists? How can it be that I, who I am, didnâ&#x20AC;&#x2122;t exist before I came to be, and that, someday, I, who I am, will no longer be who I am? When the child was a child, it

choked on spinach, on peas, on rice pudding,

and on steamed cauliflower, and eats all of those now, and not just because it has to. When the child was a child, it awoke once in a strange bed, and now does So again and again. Many people, then, seemed beautiful, and now only a Few do, by sheer luck. It has visualized a clear image of Paradise, and now at most guess, could not conceive of nothingness, and shudders today at the thought. When the child, it played with enthusiasm, and, now, has just as much excitement as then, but only when it concerns its work. When the child was a child, it was enough for it to eat only an apple, bread and so it is even now. When the child was a child, berries filled its hand as only berries do, and do even now, French walnuts made its tongue raw, and do even now, it had, on every mountaintop, the longing for a higher mountain yet, and in every city, the longing for an even greater city, and that is still so, it reached for cherries in topmost branches of trees with an elation it still has today, has a shyness in front of strangers, and has that even now. It awaited the first snow, and waits that way even now. When the child was a child, it threw a stick like a lance against a tree, and it quivers there still today.