tag:blogger.com,1999:blog-67817983517299063552024-03-05T08:35:03.356-08:00Re:Voir Vidéo + The Film Galleryrevoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comBlogger255125tag:blogger.com,1999:blog-6781798351729906355.post-72642051232064486392024-02-22T07:57:00.000-08:002024-02-22T08:30:40.020-08:00BABEL (FIN DE CYCLE) - Boris Lehman : sortie DVD<p style="margin-bottom: 0in; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/N7MTkRyprPg" width="320" youtube-src-id="N7MTkRyprPg"></iframe></div><p style="margin-bottom: 0in; text-align: justify;"><b><i>BABEL (fin de cycle)</i> : Notes sur 4 films de Boris Lehman</b></p><p style="margin-bottom: 0in; text-align: justify;"><i>Version française (english version below)</i></p><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Nous y voilà donc – c'est la fin. La fin, vraiment ? Il faut le croire. Ça avait commencé dans les années 60, auprès des malades mentaux, avec le Club Antonin Artaud : la thérapie par le cinéma. Pour s'arrêter à l'aube des années 2020, presque soixante ans plus tard. Entre temps quoi ? Une vie de cinéma, une vie <i>en cinéma</i> – une vie filmée, à l'instar de Jonas Mekas ou d'Alain Cavalier. Quelques centaines de films, courts ou longs, en 8 ou 16 mm, et auxquels il faut encore adjoindre une somme astronomique de photographies, images diverses, cartes postales, bouts de papiers, petites notes, petits mots, filmés ou pas, et qui gravitent autour de l'œuvre, y participent d'une manière ou d'une autre, de près ou de loin.</p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ZzruMyG1SZUDmQHSoFQiTxR1_BxICWPY1Vkm9GmhZ4To_iiN56gY1La4vZsQMd1JiIumrLy0tOdsd3xCnotzjkS_mxSuiRxlwE6aXmYoI5WOkxDMiRSK7cUV3lBbrPh83VgKRzBOit2WMKOsa_DArN6odNRR1IxQbBcDIo0v5uANLyZmvRoHsiw6CY0/s1293/1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1293" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ZzruMyG1SZUDmQHSoFQiTxR1_BxICWPY1Vkm9GmhZ4To_iiN56gY1La4vZsQMd1JiIumrLy0tOdsd3xCnotzjkS_mxSuiRxlwE6aXmYoI5WOkxDMiRSK7cUV3lBbrPh83VgKRzBOit2WMKOsa_DArN6odNRR1IxQbBcDIo0v5uANLyZmvRoHsiw6CY0/s320/1.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="text-align: justify;">Comme il est dit lors d'un éloge funèbre anticipé dans </span><i style="text-align: justify;">Funérailles</i><span style="text-align: justify;"> : « Vous n'imaginez pas ce que c'est que les archives d'un cinéaste qui a près de 500 films au compteur, et qui ne jette rien ! » À voir les films de Boris Lehman, on peut pourtant se faire une idée.</span></div><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Pour conclure l'œuvre de sa vie – à laquelle fut donné le beau nom de <i>Babel</i>, officiellement entamée en 1983 – Lehman ouvre cette « fin de cycle » par un petit film intitulé <i>Oublis, Regrets et Repentirs</i>, issu de la bobine perdue d'un précédent film, et dont le cinéaste n'a su que faire. Il faut dire que tout alla de travers pendant le tournage : du vol de sa caméra aux divers problèmes techniques rencontrés, dont un enregistreur Nagra qui fait des siennes – autant de signes invitant à laisser tomber, à mettre un terme à l'ouvrage. Pourtant le cinéaste s'entête, persiste, accouchant de quelques séquences aussi chaotiques que drolatiques. Sons qui s'emballent, se désynchronisent et foutent le camp. Voix qui montent dans les aigus, monologues haut-perchés... La confusion règne. <i>Oublis...</i> est un film qui n'en fait qu'à sa tête – comme Lehman au fond. C'est aussi un film qui se fonde sur une absence, sur <i>l'angoisse d'une absence</i> : ce « trou noir », c'est-à-dire les sept mois précédents le début de son tournage, sept mois pendant lesquels Lehman n'a rien filmé, nous dit-il. Sept mois de sa vie donc, « dont il ne restera aucune trace ». Quoi de plus terrible pour quelqu'un dont l'obsession particulière est de garder trace de tout ? Qui s'attache à ne rien perdre, à ne rien gâcher ? « Sauvegarde d'un film oublié », tel aurait pu être le sous-titre d'<i>Oublis...</i>, qui assume et revendique pleinement sa valeur de « rebut », de film recyclé à partir des débris du quotidien précieusement conservés.</p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkbK7KK1iGispvJdZX0rp-Lm0fHSDZ7sTfS6zJbuujSZFDE6Ngr77-WfGOKMHzow1nxTpvaqgNOpklezzRnEbmZiqmXv8OktfyFwo2g-bfxYaa5gSqaQ9T_LVAeeA8XItnminIcWz9HwQS87eEeYnmcNy9xmXdZQ0bQ8E9Oy8hOKgSWVILa-1SyoqUXCM/s1250/4.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1250" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkbK7KK1iGispvJdZX0rp-Lm0fHSDZ7sTfS6zJbuujSZFDE6Ngr77-WfGOKMHzow1nxTpvaqgNOpklezzRnEbmZiqmXv8OktfyFwo2g-bfxYaa5gSqaQ9T_LVAeeA8XItnminIcWz9HwQS87eEeYnmcNy9xmXdZQ0bQ8E9Oy8hOKgSWVILa-1SyoqUXCM/s320/4.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4asgkAlpXYqIBRDTMvz-PEK_EgF-VMmx0ZYqw7io73Qzfx7UzU_QLuhrHtInlcC2U6D-KlWD5q680hgZzDwS1YxfO6CE1bH7aatRATcZ5YoZz-hzMelh4oEC4EV1xqkUUf9UHd_w16bLlkS8S3MFAQ5udJEWLyLxYRUWSvgjZ1hNJipc-BFVunkyF-8g/s1250/5.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="974" data-original-width="1250" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4asgkAlpXYqIBRDTMvz-PEK_EgF-VMmx0ZYqw7io73Qzfx7UzU_QLuhrHtInlcC2U6D-KlWD5q680hgZzDwS1YxfO6CE1bH7aatRATcZ5YoZz-hzMelh4oEC4EV1xqkUUf9UHd_w16bLlkS8S3MFAQ5udJEWLyLxYRUWSvgjZ1hNJipc-BFVunkyF-8g/s320/5.png" width="320" /></a></div><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Il faut saisir l'étrangeté qui se dégage de l'œuvre de Boris Lehman : l'imaginer vivre sa vie de tous les jours tandis qu'une équipe de tournage le suit à la trace pour filmer ses faits et gestes, ses déambulations, et jusqu'aux interactions les plus anodines avec la libraire ou le garçon de café, les amis croisés « par hasard » (mais quel « hasard » au juste, tant vie réelle et mise en scène finissent par se confondre ?), et qui de ce fait se font les complices amusés de l'entreprise auto-filmique en cours. Nombrilisme ? Plutôt pure hantise : celle que les choses même les plus infimes puissent se perdre et disparaître, sans laisser la moindre trace. Et la peur peut-être qu'en disparaissant, elles nous entraînent avec elles, dans le grand siphon de l'oubli. Que rien ne puisse rien retenir. C'est donc sur cette angoisse viscérale que l'œuvre de Lehman semble s'être bâtie, au fil des décennies d'une vie vécue pour être filmée – sans quoi elle ne serait pas vraiment vécue, sans quoi le monde oublierait. Il y a quelque chose de Perec chez Boris Lehman, dont l'entreprise relève à la fois de la compilation, de l'épuisement et de l'(auto)archivage.</p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvbitZY6S-uTAMmwe_NriceMURYdASSMXofNRci4er-Jh9bUFp795CUpglgdiVIQ-bH6mYbSUycSkpVv1CfSi9DoM-he5l4EYGOTvF0KMcz4LYyTUPOBC7-KHwxS0ddLI-NiEDSbTas6sGenNUbVs-kouUGy6gS-gvvA_3kWTmjqQx9ioDaDyzAIHbi0U/s1215/8.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="971" data-original-width="1215" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvbitZY6S-uTAMmwe_NriceMURYdASSMXofNRci4er-Jh9bUFp795CUpglgdiVIQ-bH6mYbSUycSkpVv1CfSi9DoM-he5l4EYGOTvF0KMcz4LYyTUPOBC7-KHwxS0ddLI-NiEDSbTas6sGenNUbVs-kouUGy6gS-gvvA_3kWTmjqQx9ioDaDyzAIHbi0U/s320/8.png" width="320" /></a></div><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">L'oubli. C'est encore lui qui fonde le film suivant, <i>Une Histoire de cheveux</i>, sous-titré <i>Sibérie</i>. Film qui se veut la continuité d'un précédent (encore), intitulé <i>Histoire de mes cheveux</i>, tourné entre 2003 et 2010 : première partie d'un projet plus vaste qui n'avait pas pu être mené à son terme. <i>Sibérie</i> constitue donc la seconde partie, poursuivant le voyage dans l'espace et dans le temps du cinéaste, parti sur les traces de ses ancêtres aux confins de la Russie : sur les traces de son propre nom, de lui-même en quelque sorte. Le film est donc un voyage au bout du monde comme un voyage au bout de soi-même, récit incantatoire où la parole de Lehman est entrecoupée de chants, de poèmes (dont la sublime <i>Prose du Transsibérien...</i> de Cendrars), de bruits divers et de silences, qui achèvent de donner à l'ensemble sa forme lancinante et quelque peu hypnotique. De la rencontre du cinéaste, de son regard particulier et des paysages de la Russie profonde résultent des images d'une beauté étrange et parfois sidérante – paysages désolés, lacs gelés, montagnes et villages comme rescapés de la mémoire et de l'histoire. Avec Lehman, le spectateur traversera ces lieux comme un étranger débarqué sur une autre planète. Entre documentaire, essai filmique et carnet de voyage, le film se nourrit aussi des diverses rencontres de Lehman avec les populations locales, des individus croisés sur la route, et qui viennent rythmer le voyage introspectif en le rattachant sans cesse au réel et au présent, dans un va-et-vient incessant entre dedans et dehors, entre hier et aujourd'hui, entre « moi » et les autres – par les pouvoirs conjugués du mouvement et de l'image.</p><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">« C'était au temps où je croyais à l'image.<br />On se baladait d'un pays à l'autre et on rencontrait des gens.<br />Et ces gens on les filmait, on les mettait dans le film.<br />Et finalement ce sont eux qui faisaient le film, qui en faisaient un film. »</p><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Carton issu de <i>Une Histoire de cheveux (Sibérie)<br /><br /></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpiwyXUHQ4qRSsoqu7fJzYJBHwUUZVSLZuHP-qg8joOI2R9yR9uR_mpm2F0QdlXVAiAxvT_LRsY7VqU57S78wpS1HHa58fMaTrA4MEbtaesCGU9_XGq_xgKDAZG-jkaOa67P6Ugtn5q09rJsPhnxYMcrFRlvYp69_8_qYN9KN5txsxgPIR-1MrAmVYhoo/s1214/9.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="976" data-original-width="1214" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpiwyXUHQ4qRSsoqu7fJzYJBHwUUZVSLZuHP-qg8joOI2R9yR9uR_mpm2F0QdlXVAiAxvT_LRsY7VqU57S78wpS1HHa58fMaTrA4MEbtaesCGU9_XGq_xgKDAZG-jkaOa67P6Ugtn5q09rJsPhnxYMcrFRlvYp69_8_qYN9KN5txsxgPIR-1MrAmVYhoo/s320/9.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUOZnkBJR71lNk_FatWA8mxBtz1pnHx8GWrI-BxB7LHoH5DSJmMv_Nl4aEbH9g_xRj3b0sOWsQdncDAsyrxzXrfsPiQnuSFKYLXB47i_Ln8UtMxahq08qHcOiD629nptKtEJ55GGoRoVygls8tYBAzieYVtrkogm4n8NjMzRkSeiLphQzdsPulJwt8BPw/s1214/10.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="973" data-original-width="1214" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUOZnkBJR71lNk_FatWA8mxBtz1pnHx8GWrI-BxB7LHoH5DSJmMv_Nl4aEbH9g_xRj3b0sOWsQdncDAsyrxzXrfsPiQnuSFKYLXB47i_Ln8UtMxahq08qHcOiD629nptKtEJ55GGoRoVygls8tYBAzieYVtrkogm4n8NjMzRkSeiLphQzdsPulJwt8BPw/s320/10.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiG1XeAPbc6T9E3AbkF6dW1VqEEkN7QKBPWfSPZHrzVxE-giCv9cxJx72CDvxHaIeLvhs8YnpTADTcYOT0gAzopWd4qA8FW9dlfRO_kVV41SqL6NTGayrLs54IVAz0fSC0FGwLpGtNed6LIpFTMEUSWQDN6Yr8uoa9f7wEdIWCpO3ucOuZjpWDWSEvd0E/s1215/11.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="972" data-original-width="1215" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiG1XeAPbc6T9E3AbkF6dW1VqEEkN7QKBPWfSPZHrzVxE-giCv9cxJx72CDvxHaIeLvhs8YnpTADTcYOT0gAzopWd4qA8FW9dlfRO_kVV41SqL6NTGayrLs54IVAz0fSC0FGwLpGtNed6LIpFTMEUSWQDN6Yr8uoa9f7wEdIWCpO3ucOuZjpWDWSEvd0E/s320/11.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQPfaCvXdLboWd_aKYuMSNvqotZ074iIDlRnPxXr_taEyhcUCVYL-YABaQhC9VKq03OyHyIctwq8e0AHM-yozI6RHSSfzUXzW3SAwQYud5ifNgjyTPUTPySdVpzkQg_nljciOSpAXS9EPBa7FnwaVAAfFyN7CYKrfCUQMyEKP-W20RxBOMrFqT_pUNyIs/s1214/12.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="976" data-original-width="1214" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQPfaCvXdLboWd_aKYuMSNvqotZ074iIDlRnPxXr_taEyhcUCVYL-YABaQhC9VKq03OyHyIctwq8e0AHM-yozI6RHSSfzUXzW3SAwQYud5ifNgjyTPUTPySdVpzkQg_nljciOSpAXS9EPBa7FnwaVAAfFyN7CYKrfCUQMyEKP-W20RxBOMrFqT_pUNyIs/s320/12.png" width="320" /></a></div><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Pourtant, il faut bien que le voyage s'achève – revenir à la maison. Mais comment revenir après ça ? Ce serait comme revenir d'entre les morts...</p><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">On ne croit pas si bien dire. Après la Sibérie, le temps du retour donc : Ulysse revient à Ithaque, même s'il s'est un peu perdu en chemin. À une terrasse de café parisien, le cinéaste-voyageur apprend d'une vieille connaissance qu'on l'a récemment enterré. C'est sur ce postulat improbable d'un Lehman d'outre-tombe que s'ouvre <i>Funérailles (de l'art de mourir)</i>, troisième film de cette fin de cycle, dans lequel Lehman s'amusera avec un mélange d'humour et de sérieux à mettre en scène sa propre disparition. Plus qu'une expérience mortifère, il faut voir ce film comme une performance, la reconstitution fabulatrice d'un événement qui n'a pas encore eu lieu : tentative de dépasser le tabou de la mort, imbibée de l'atmosphère des rites qui retrouvent par la mise en scène leur valeur proprement poétique, entre paganisme et religiosité. Au bord de ce tombeau (fictif), le cinéaste s'interroge : que faire de tout ce qu'il a emmagasiné toutes ces années, toutes ces images, ces documents, ces livres, ces vêtements, ces films – tous ces rebuts encore une fois, obsessionnellement conservés ? Faisant face à sa hantise de toujours, Lehman semble résolu à tout perdre, à brûler lui-même tout ce qui, de toute manière, était voué à disparaître, quelques soient ses efforts. Ainsi Lehman le collectionneur, le collecteur-filmeur, rejoint en fin de parcours l'ultime souhait de Franz Kafka (dont le fantôme hante le film) : ce qui donnera lieu à une scène ahurissante où le cinéaste rassemble en un tas toutes les éditions qu'il a pu trouver de l'écrivain pragois, pour en faire un brasier. Autodafé ou grand feu de joie ? Acte d'autodestruction ou célébration de la vie dans ce qu'elle a de plus éphémère ? Par ce geste, Lehman revendique sa destinée d'éternel CSDF – Cinéaste Sans Domicile Fixe – comme un point final (?) au voyage de celui qui « se voulait nomade et libre, dans un monde où tout est prison, figé et ligoté », réalisant ainsi (même symboliquement) son rêve de mourir dans un grand feu.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTzmzqrsQLDoNM9gTaukQalIsyErbUt7o-rJRQ_4tHX3PbPD65JnLuQ2IRcfK663BR_ZZRezhsLFJzSD2y3lk4_gJAScN4wZqzbPXFzUqEXVXMn1pf-tQKZUgo8UGyvIpVSnoodzcc6JhQQahxanJ2Mcze-Z37Z_2r_peipsrHDDFqaN1nKaSSPeEFTAs/s1310/13.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1310" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTzmzqrsQLDoNM9gTaukQalIsyErbUt7o-rJRQ_4tHX3PbPD65JnLuQ2IRcfK663BR_ZZRezhsLFJzSD2y3lk4_gJAScN4wZqzbPXFzUqEXVXMn1pf-tQKZUgo8UGyvIpVSnoodzcc6JhQQahxanJ2Mcze-Z37Z_2r_peipsrHDDFqaN1nKaSSPeEFTAs/s320/13.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaJ7mqlCQmbkNbvSHJ3k7fCop2t3iBtkI_3VPuuWtgdzshcQ5gdG3q4f0Nztl9eA8szgCoTH2hqYBSAAXoKnblDoohsCahoTocrOnoeeksuxkKo_CBsWGU8-5LBC7LkMMPxE6s_qg4DYZKyhSd-4PUz3rZhRMO_zfCJ-NYcKFHV_eRBrQ7SBGHVC8aFHE/s1310/14.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1310" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaJ7mqlCQmbkNbvSHJ3k7fCop2t3iBtkI_3VPuuWtgdzshcQ5gdG3q4f0Nztl9eA8szgCoTH2hqYBSAAXoKnblDoohsCahoTocrOnoeeksuxkKo_CBsWGU8-5LBC7LkMMPxE6s_qg4DYZKyhSd-4PUz3rZhRMO_zfCJ-NYcKFHV_eRBrQ7SBGHVC8aFHE/s320/14.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPhFqiCijHBpCDDNVhZsc4-vC6AKd7P5K3xnk2NJuT3DY7nUgqfZolay2_naxM4Mdfmg6DHygCLA9ZfkdaSY4qLdszBbYyktK5DgxzWV7dHUjL4UH_fP_XzyukMCy2pSHUBkIcsCvHogXNmbhH0Ta7wMVfreU3Cs-6h5V6ysG94a37SAXpSQV1N6MPy7Y/s1310/15.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1310" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPhFqiCijHBpCDDNVhZsc4-vC6AKd7P5K3xnk2NJuT3DY7nUgqfZolay2_naxM4Mdfmg6DHygCLA9ZfkdaSY4qLdszBbYyktK5DgxzWV7dHUjL4UH_fP_XzyukMCy2pSHUBkIcsCvHogXNmbhH0Ta7wMVfreU3Cs-6h5V6ysG94a37SAXpSQV1N6MPy7Y/s320/15.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-ey4UQrl278w7bR0q8ZCdonyCfXCsPLDwh4FTyOJ0JDNYiy1IMXO7SHRHNrRAsYvND6o2gJFiG3SEvf5o-U25fwVMWB9XWl-yPNzlJLcBA7AbUOwkfPbrDI8TGVNUNUI40nw5OjF631Ac8wyE0L9lYUFt8HowfwF6UZ3kvoVGLls39l8UhTvu1t0_N-k/s1310/16.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1310" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-ey4UQrl278w7bR0q8ZCdonyCfXCsPLDwh4FTyOJ0JDNYiy1IMXO7SHRHNrRAsYvND6o2gJFiG3SEvf5o-U25fwVMWB9XWl-yPNzlJLcBA7AbUOwkfPbrDI8TGVNUNUI40nw5OjF631Ac8wyE0L9lYUFt8HowfwF6UZ3kvoVGLls39l8UhTvu1t0_N-k/s320/16.png" width="320" /></a></div><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Mais partir n'est pas si simple : en témoigne ce long plan séquence bouleversant qui clôt <i>Funérailles</i>, longue confession face caméra du cinéaste qui avoue ne pas pouvoir s'arrêter là, tandis que le film lui-même s'étire encore dans les minutes d'un épilogue « interminable » – celui d'une œuvre « qui ne veut pas finir, qui veut rester en fait. »</p><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Car alors qu'on croyait <i>Babel</i> achevée, voici un dernier film qui vient conclure (vraiment ?) une œuvre qui décidément n'en finit pas de finir. <i>Fantômes du passé (comment l'histoire est entrée en moi)</i> possède tout de même un statut un peu particulier. Bonus, commentaire <i>après coup</i>, feu follet filmique ? Plutôt une sorte de bilan, l'occasion d'une replongée dans les archives d'une vie. Le film se fonde sur une béance, sur une blessure et une fissure – celle apparue dans la vie et le cœur du cinéaste lui-même (victime d’infarctus avant la réalisation du film), et celle découverte sur le mur de son atelier, à laquelle elle semble étrangement répondre. Cœur fissuré, mur fissuré : deux fissures qui n'en font qu'une et de laquelle toutes sortes de fantômes passés s'échappent pour former ensemble une énième pierre à poser sur <i>Babel</i>. Comme conscient de ce sursis qui lui est accordé, Lehman traverse son film comme un quasi fantôme d'abord, refusant de se laisser filmer, dissimulant son visage en tournant le dos à la caméra, ou derrière un masque en papier composé à partir de différentes photos de lui-même. S'il finira par tomber le masque, ce petit jeu de cache-cache se poursuivra, Boris se laissant filmer par une amie (Sarah Moon Howe, également co-réalisatrice du film) tandis qu'il est occupé à ses affaires, comme indifférent au film en train de se faire, mettant de l'ordre dans son atelier, parmi ses bobines et ses archives – celles de sa propre vie comme celles de l'histoire et des grands événements qui l'ont accompagnée, et dont le film se veut une exploration, un petit tour d'horizon – une balade. « Je te montre l'histoire, comment elle est entrée en moi. C'est mon histoire mais c'est aussi l'histoire de tout le monde. » Film-bilan et vue d'ensemble sur une vie filmée, <i>Fantômes du passé</i> fait ainsi figure de dernier inventaire avant disparition : la <i>revisite</i> d'une œuvre, au sens où les fantômes viennent nous « revisiter » quelquefois – quand eux non plus ne peuvent se résoudre à disparaître tout à fait.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgYyu3mp-OAIrlpZzgzImkN8zQ-mYvakWXz2ZktLkeZIf6Oc0BCWnKIWueatyKM7JvvYCuP-165_DO8XFH40qJjsgwm-dX3NwnUcLs4Oe3j08mKzx5-lgGQM5tchpQDLdkshnYLWwiFEtAwO-QVsaS2ht2nWUmJtNAzYwb6NEsNFZ3IJD5JRNuza1IgXE/s1310/18.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1310" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgYyu3mp-OAIrlpZzgzImkN8zQ-mYvakWXz2ZktLkeZIf6Oc0BCWnKIWueatyKM7JvvYCuP-165_DO8XFH40qJjsgwm-dX3NwnUcLs4Oe3j08mKzx5-lgGQM5tchpQDLdkshnYLWwiFEtAwO-QVsaS2ht2nWUmJtNAzYwb6NEsNFZ3IJD5JRNuza1IgXE/s320/18.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2laQVKnD3C98iVruiZuqfXaN3rkAKO9bgT3Ly9ENQTjgOI1-mz5z4yif9quvmlKaWgtdaUHVXVbYgj18VpBv_kdd8J3KlBmhX3i9oArp-SZMd9ABOvgmyxJgSQPYtfKK8tSLKfQzGQeC374ew8a_NTpgaeda2Z5tAZe_jBPIFDHeSIeLSBidlrOFaoEY/s1514/19.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1514" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2laQVKnD3C98iVruiZuqfXaN3rkAKO9bgT3Ly9ENQTjgOI1-mz5z4yif9quvmlKaWgtdaUHVXVbYgj18VpBv_kdd8J3KlBmhX3i9oArp-SZMd9ABOvgmyxJgSQPYtfKK8tSLKfQzGQeC374ew8a_NTpgaeda2Z5tAZe_jBPIFDHeSIeLSBidlrOFaoEY/s320/19.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqt4yQJZq9SYpYRRfuWqTLcRmmYhiHa4aFGTvvmidyzY_esPM7plaS4Q_JB74kjIimKfaYOOdGVCdGUwDcyKTe0KDEpCIEh1JhHWVoVzDFy8kYytFqjcE18mvVkLPAaWkPiJA_piyzIA1fvROqKCP7Tk5y4mLGsfLGvhO4_FyKtHqVhlmL0yZ1o5V62pU/s1514/20.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1514" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqt4yQJZq9SYpYRRfuWqTLcRmmYhiHa4aFGTvvmidyzY_esPM7plaS4Q_JB74kjIimKfaYOOdGVCdGUwDcyKTe0KDEpCIEh1JhHWVoVzDFy8kYytFqjcE18mvVkLPAaWkPiJA_piyzIA1fvROqKCP7Tk5y4mLGsfLGvhO4_FyKtHqVhlmL0yZ1o5V62pU/s320/20.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcTYQsUxETUtNYX_KVhSYzcbzi-0lYVbSNZLOh6ajhs2g0GXIR1QijjZfQK9hVQ36aGQ78Q7fTgUj9Mq-y1-XePOlZ3eGclXbILw_tZun4pEgsnAlKXgZSX6ctUcH-sQW69DKNPqYkjknUpeCKhDHYfeUjEHWRMfxtRtVBK8gl-FLHXBdWx2f2wncquQw/s1536/21.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1536" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcTYQsUxETUtNYX_KVhSYzcbzi-0lYVbSNZLOh6ajhs2g0GXIR1QijjZfQK9hVQ36aGQ78Q7fTgUj9Mq-y1-XePOlZ3eGclXbILw_tZun4pEgsnAlKXgZSX6ctUcH-sQW69DKNPqYkjknUpeCKhDHYfeUjEHWRMfxtRtVBK8gl-FLHXBdWx2f2wncquQw/s320/21.png" width="320" /></a></div><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Comment finir ? Tel est donc la question qui hante cette fin de cycle, et que chaque film pose, en filigrane d'abord, puis de plus en plus frontalement. Mais au fond, est-ce vraiment envisageable ? Face à ce qui se dégage de ces derniers films, il est permis d'en douter, tant il semble plus que jamais improbable de voir se finir ce qui ne peut se résoudre à finir, ce qui peut-être est voué à ne jamais finir – tant qu'il restera du souffle, quelques chutes de pellicules, quelques photos retrouvées dans un tiroir ou sous un lit, comme par miracle, comme un hasard heureux : signe qu'il faut continuer.</p><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">C'est la logique de tout accumulateur, pour qui rien n'est jamais clôt, pour qui tout est toujours ouvert, peut toujours se voir adjoindre un nouvel élément, encore un petit morceau par-ci par-là... Sans pour autant dénaturer l'ensemble, dont la logique interne, la cohérence profonde, est celle de l'accueil permanent.</p><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Plus qu'une tour imprenable, <i>Babel</i> aura donc été cette citadelle ouverte à tous les bruits du monde, tous les hors-champs de l'histoire et du temps. Comment finir ? demande le filmeur. En ne finissant pas, répond le cinéaste.</p><p lang="fr-FR" style="margin-bottom: 0in; text-align: center;">*</p><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">À ceux qui voudront poursuivre leur découverte du travail de Boris Lehman, le coffret DVD <i>Babel (fin de cycle)</i> édité par RE:VOIR regroupe donc les 4 films :</p><ul><li><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;"><i>Oublis, Regrets et Repentirs</i> (2016, 42 minutes)</p></li><li><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;"><i>Une Histoire de cheveux (Sibérie)</i> (2020, 97 minutes)</p></li><li><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;"><i>Funérailles (de l'art de mourir)</i> (2016, 97 minutes)</p></li><li><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;"><i>Fantômes du passé (comment l'histoire est entrée en moi)</i> (2020, 87 minutes)</p></li></ul><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Le tout accompagné d'un livret bilingue de 112 pages édité par les éditions Yellow Now et la Fondation Boris Lehman.</p><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Sortie officielle le 3 mars 2024.</p><p lang="fr-FR" style="margin-bottom: 0in; text-align: justify;">Disponible ici : <a href="https://re-voir.com/shop/fr/boris-lehman/1597-boris-lehman-babel-fin-du-cycle.html">https://re-voir.com/shop/fr/boris-lehman/1597-boris-lehman-babel-fin-du-cycle.html</a></p><p style="text-align: justify;"><b style="font-family: "Times New Roman", serif;"><br /></b></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-84856176283229111962024-02-22T07:20:00.000-08:002024-02-22T08:25:32.565-08:00DVD release of BABEL (Fin du cycle) - Boris LEHMAN <p align="LEFT" style="margin-bottom: 0in;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/N7MTkRyprPg" width="320" youtube-src-id="N7MTkRyprPg"></iframe></b></div><b><i><p align="LEFT" style="margin-bottom: 0in;"><b><i></i></b></p>BABEL (fin du cycle) </i>: Notes on 4 films by Boris Lehman</b><p></p><p align="LEFT" style="margin-bottom: 0in;"><i>English version (texte en français dans le poste suivant)</i></p><p align="JUSTIFY" style="margin-bottom: 0in;"><span style="text-align: left;">So here we are - the end. The end, really? You'd have to think so. It all began in the 60s, with the Club Antonin Artaud's film therapy for the mentally ill. It came to an end at the dawn of the 2020s, almost sixty years later. In the meantime, what? A life of cinema, a life in cinema - a life filmed, like Jonas Mekas or Alain Cavalier. A few hundred films, short or long, in 8 or 16 mm, to which must be added an astronomical sum of photographs, various images, postcards, scraps of paper, little notes, little words, filmed or not, all gravitating around the work, participating in it in one way or another, from near or far.</span></p><p align="JUSTIFY" style="margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqShw63e1CRSfOy4qO2spV5QPos8VjgdZEAQb1HRmOclcVgs2fF3VW4mUPN4CTCe4u8blFXjXPlrX5vLbFAN-m54234qp3pK98HjAM7li8nxgwGDm-rx1WhK6dCnz2AQcesgGAJEddr6s9pk1lNQmfHP3dh25oSdpbGBro33lLImb7flC_d2PqfvYIi1c/s1293/1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1293" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqShw63e1CRSfOy4qO2spV5QPos8VjgdZEAQb1HRmOclcVgs2fF3VW4mUPN4CTCe4u8blFXjXPlrX5vLbFAN-m54234qp3pK98HjAM7li8nxgwGDm-rx1WhK6dCnz2AQcesgGAJEddr6s9pk1lNQmfHP3dh25oSdpbGBro33lLImb7flC_d2PqfvYIi1c/s320/1.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">As one of the eulogies in </span><i style="text-align: left;">Funérailles</i><span style="text-align: left;"> puts it: "You can't imagine what it's like to have an archive of a filmmaker who has almost 500 films to his credit, and who doesn't throw anything away!'' But looking at Boris Lehman's films, you can get an idea.</span></div><p align="JUSTIFY" style="margin-bottom: 0in;"><span style="text-align: left;">To conclude his life's work - to which was given the beautiful name of </span><i style="text-align: left;">Babel</i><span style="text-align: left;">, officially begun in 1983 - Lehman opens this "end of cycle" with a little film entitled </span><i style="text-align: left;">Oublis, Regrets et Repentirs</i><span style="text-align: left;">, taken from the lost reel of a previous film, which the filmmaker didn't know what to do with. It has to be said that everything went wrong during the shoot: from the theft of his camera to the various technical problems encountered, including a Nagra recorder acting up - so many signs inviting him to give up, to put an end to the work. Yet the filmmaker persists, delivering sequences that are as chaotic as they are funny. Sounds that get carried away, out of sync and out of control. High-pitched voices, high-pitched monologues... Confusion reigns. </span><i style="text-align: left;">Oublis...</i><span style="text-align: left;"> is a film that does as it pleases - like Lehman, in fact. It's also a film based on an absence, on the anguish of an absence: this "black hole", i.e. the seven months preceding the start of filming, seven months during which Lehman filmed nothing, he tells us. Seven months of his life, "of which no trace will remain". What could be more terrible for someone whose particular obsession is to keep track of everything? Who makes a point of losing nothing, of wasting nothing? "Sauvegarde d'un film oublié" could have been the subtitle of </span><i style="text-align: left;">Oublis...</i><span style="text-align: left;">, which fully assumes and asserts its value as a "reject", a film recycled from the preciously preserved debris of everyday life.</span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRe_qR5_AxrK3az3US6k0ip9afT9sXM1KIIXGMN37nHhG_cBgPnysU7eo8c95J9IwaLvgwDHA8QYzUzSvkf2zvM6gdhVq_6sK_zVKLH20HV6mmPU8yKvYFjV0peZDDfWiF9aVP8EfXe8DDSiLer3Ay_cVBZ2GGgSip9usYK2FeSp-5Lsyi8peUV4atSwI/s1250/4.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1250" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRe_qR5_AxrK3az3US6k0ip9afT9sXM1KIIXGMN37nHhG_cBgPnysU7eo8c95J9IwaLvgwDHA8QYzUzSvkf2zvM6gdhVq_6sK_zVKLH20HV6mmPU8yKvYFjV0peZDDfWiF9aVP8EfXe8DDSiLer3Ay_cVBZ2GGgSip9usYK2FeSp-5Lsyi8peUV4atSwI/s320/4.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb3jj3_dJ-AcL8YV36ls-seInzHXkqKv8whgUTABQyiHp2RKgAWzZdcQ60Ir9Bmphja-jJbzom72Yy3sR1m2uGJRhAkODrmIAtg4F4T2DGXc9g-rfbvRa_1cbRvunmvZk4wCoU86B3XG21ow1pygNRPiq-xAyRFwInxE09swDNK3akwXxiJnqp9nMM-_U/s1250/5.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="974" data-original-width="1250" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb3jj3_dJ-AcL8YV36ls-seInzHXkqKv8whgUTABQyiHp2RKgAWzZdcQ60Ir9Bmphja-jJbzom72Yy3sR1m2uGJRhAkODrmIAtg4F4T2DGXc9g-rfbvRa_1cbRvunmvZk4wCoU86B3XG21ow1pygNRPiq-xAyRFwInxE09swDNK3akwXxiJnqp9nMM-_U/s320/5.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">The strangeness that emanates from Boris Lehman's work needs to be understood: imagine him living his everyday life while a film crew follows him around, filming his every move, his wanderings, and even the most innocuous interactions with the bookseller or the barista, the friends he meets "by chance" (but what "chance" exactly, given that real life and staged life end up merging?), who thus become amused accomplices in the auto-filmic enterprise in progress. Egoism? More like pure obsession: the fear that even the smallest things can be lost and disappear, without leaving the slightest trace. And the fear, perhaps, that as they disappear, they'll drag us down with them, into the great siphon of oblivion. That nothing can hold anything back. It is on this visceral anguish that Lehman's work seems to have been built, over the decades of a life lived in order to be filmed - without which it would not really be lived, without which the world would forget. There's something of Perec about Boris Lehman, whose enterprise is at once compilation, exhaustion and (self-)archiving.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoYiGZeH9v9jTC2N5J1PK9EWhjGG1yNAtwwEv-df9lGx6NTxJcJTtKFfcGAVuagyetTAg0f-41I6WfOXEEZJPTe_oOFPd4i1Lt1JbAvM0ROieB3S4Mjw9qBMeIfOzVjmSGvG2olrMvD_vcY9ZOK1igxtO1dPbcVWSPnu3F1YgHLUgUJ3tWRZZMUaUOGZM/s1215/8.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="971" data-original-width="1215" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoYiGZeH9v9jTC2N5J1PK9EWhjGG1yNAtwwEv-df9lGx6NTxJcJTtKFfcGAVuagyetTAg0f-41I6WfOXEEZJPTe_oOFPd4i1Lt1JbAvM0ROieB3S4Mjw9qBMeIfOzVjmSGvG2olrMvD_vcY9ZOK1igxtO1dPbcVWSPnu3F1YgHLUgUJ3tWRZZMUaUOGZM/s320/8.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Forgetting. This is also the basis of the next film, </span><i style="text-align: left;">Une Histoire de cheveux</i><span style="text-align: left;">, subtitled </span><i style="text-align: left;">Sibérie</i><span style="text-align: left;">. It's the continuation of an earlier film (again), </span><i style="text-align: left;">Histoire de mes cheveu</i><span style="text-align: left;">x, shot between 2003 and 2010: the first part of a larger project that couldn't be completed. </span><i style="text-align: left;">Sibérie</i><span style="text-align: left;"> is the second part, continuing the filmmaker's journey through space and time, as he follows in the footsteps of his ancestors to the farthest reaches of Russia: in the footsteps of his own name, of himself as it were. The film is thus a journey to the end of the world as well as a journey to the end of oneself, an incantatory narrative in which Lehman's words are interspersed with songs, poems (including Cendrars' sublime </span><i style="text-align: left;">Prose du Transsibérien...</i><span style="text-align: left;">), various noises and silences, all of which give the film its haunting, somewhat hypnotic form. The encounter between the filmmaker, his particular vision and the landscapes of deepest Russia results in images of strange and sometimes staggering beauty - desolate landscapes, frozen lakes, mountains and villages as if rescued from memory and history. With Lehman, the viewer travels through these places like a stranger on another planet. Part documentary, part film essay, part travel diary, the film is also nourished by Lehman's various encounters with local people, individuals he meets along the way, who punctuate the introspective journey by constantly linking it to reality and the present, in an incessant back-and-forth between inside and outside, between yesterday and today, between "me" and others - through the combined powers of movement and image.</span></div></div><p style="margin-bottom: 0in; text-align: justify;"><span style="text-align: left;"></span></p><p style="margin-bottom: 0in; text-align: justify;"><span style="text-align: left;">"That was back when I believed in images.<br />We traveled from one country to another, meeting people.<br /></span>And we would film these people and put them in the film.<br />And in the end, they were the ones who made the film, who made it a film.''<br /><span style="text-align: left;">-from </span><i style="text-align: left;">Une Histoire de cheveux (Sibérie)</i></p><p style="margin-bottom: 0in; text-align: justify;"><i style="text-align: left;"></i></p><p style="margin-bottom: 0in; text-align: justify;"></p><div class="separator" dir="rtl" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYWZkNQcZQ3HuCrx26tqELWwpCzUcfYUI6U72JrecCI_tXAhwk0SDpKZnD_bMmkAud94FBjF3QLT7maO3IImcYOrhtAcw8BQ57VPf9S7DqB_0AmsyAmoj_psJwUZRhuodi8oz5BpVLqEpW7GN1sXRNumCsVNzTvwJCopAMWNO-MUZhxfYfuPXBmChswU/s1214/9.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="976" data-original-width="1214" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYWZkNQcZQ3HuCrx26tqELWwpCzUcfYUI6U72JrecCI_tXAhwk0SDpKZnD_bMmkAud94FBjF3QLT7maO3IImcYOrhtAcw8BQ57VPf9S7DqB_0AmsyAmoj_psJwUZRhuodi8oz5BpVLqEpW7GN1sXRNumCsVNzTvwJCopAMWNO-MUZhxfYfuPXBmChswU/s320/9.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrPBdez3qErPbe00bv8otuYyWWFs9KJWqeosyk1vhvcCXkLDZQ4z-f2K6Tv8RYndwRNPySqKw9dsW-5AdxxZpDnuWDGazjsa7fP0YF3IMwy7Zf465aYHqoTypt5AkujsyRgVi8aT_BPgkxrPYL3kz9L9tX0Li9EVm3wK9B48IPZyHAvDBWmB38tEz2UQc/s1214/10.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="973" data-original-width="1214" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrPBdez3qErPbe00bv8otuYyWWFs9KJWqeosyk1vhvcCXkLDZQ4z-f2K6Tv8RYndwRNPySqKw9dsW-5AdxxZpDnuWDGazjsa7fP0YF3IMwy7Zf465aYHqoTypt5AkujsyRgVi8aT_BPgkxrPYL3kz9L9tX0Li9EVm3wK9B48IPZyHAvDBWmB38tEz2UQc/s320/10.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjknnO5D20zfY84ODvGL_a-9YarNLJEqdOP4rsQFoNzX6JZY4m-GIhdPy9yqTYRgnNROzbkXBfFy4x71tYTpJhyBFNvt4oahOIx-gKe8RHo-2LUiuvILxRy0faNHcQj0jGCwLccsMJjvgN-ZpT1UBM9posVVpt-luJyh7PutWtqH9-Yly5JpKX6cUTg3WM/s1215/11.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="972" data-original-width="1215" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjknnO5D20zfY84ODvGL_a-9YarNLJEqdOP4rsQFoNzX6JZY4m-GIhdPy9yqTYRgnNROzbkXBfFy4x71tYTpJhyBFNvt4oahOIx-gKe8RHo-2LUiuvILxRy0faNHcQj0jGCwLccsMJjvgN-ZpT1UBM9posVVpt-luJyh7PutWtqH9-Yly5JpKX6cUTg3WM/s320/11.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSDsnmCkWIKwFpESlgRP3a08YEn-jiEHGSjzDoEdNaDJ-6vzidHxWP4-BQOWKwUMaW0OEaSCemD6kIbWSPmzYJB-Ca1jhnzv3A1ff3aE4QPqr8FrIEUzxqdXgh2g4bC_l6OZhxD2PJsqVgP9VZbAJtFW2LO2W6RYgSYOxa6ciUJZy8iL6e39rzmyiBEV4/s1214/12.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="976" data-original-width="1214" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSDsnmCkWIKwFpESlgRP3a08YEn-jiEHGSjzDoEdNaDJ-6vzidHxWP4-BQOWKwUMaW0OEaSCemD6kIbWSPmzYJB-Ca1jhnzv3A1ff3aE4QPqr8FrIEUzxqdXgh2g4bC_l6OZhxD2PJsqVgP9VZbAJtFW2LO2W6RYgSYOxa6ciUJZy8iL6e39rzmyiBEV4/s320/12.png" width="320" /></a></div><br /><span style="text-align: left;">But the journey must come to an end - back home. But how do you come back after that? It would be like coming back from the dead...</span><p align="JUSTIFY" style="margin-bottom: 0in;"><span style="text-align: left;">We're not so sure about that. So, after </span><i style="text-align: left;">Siberia</i><span style="text-align: left;">, it's time to return: Ulysses returns to Ithaca, even if he gets a little lost along the way. At a Parisian café, the filmmaker-traveler learns from an old acquaintance that he has recently been buried. It is on this unlikely premise of a Lehman from beyond the grave that </span><i style="text-align: left;">Funérailles (de l'art de mourir)</i><span style="text-align: left;"> opens, the third film in this end-of-cycle, in which Lehman has fun staging his own demise with a mixture of humor and seriousness. More than a mortifying experience, this film should be seen as a performance, the fabulist re-enactment of an event that has yet to take place: an attempt to overcome the taboo of death, imbued with the atmosphere of rites that, through staging, rediscover their properly poetic value, somewhere between paganism and religiosity. At the edge of this (fictitious) tomb, the filmmaker wonders what to do with everything he's stored up all these years, all these images, documents, books, clothes, films - all this junk once again, obsessively preserved? Faced with his lifelong obsession, Lehman seems determined to lose everything, to burn himself everything that, no matter how hard he tries, was destined to disappear. Thus, Lehman the collector, the collector-filmer, meets Franz Kafka's (whose ghost haunts the film) ultimate wish at the end of the journey: this leads to a bewildering scene in which the filmmaker gathers all the editions he could find of the Prague writer into a heap, to turn them into an inferno. </span><i style="text-align: left;">Auto-da-fé</i><span style="text-align: left;"> or bonfire? An act of self-destruction or a celebration of life at its most ephemeral? With this gesture, Lehman asserts his destiny as an eternal CSDF - Cinéaste Sans Domicile Fixe - as a final (?) point in the journey of one who "wanted to be nomadic and free, in a world where everything is a prison, frozen and tied up", thus fulfilling (even symbolically) his dream of dying in a bonfire.</span></p><p align="JUSTIFY" style="margin-bottom: 0in;"><span style="text-align: left;"></span></p><p align="JUSTIFY" style="margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoUdMzrUm7SqvOOuQcq9xpjKoV0btQS70Z1ciptjG7cO4ImuI1tirxn_w0l6MIvI1OUkPdmYeKxwZvq_Fmx-hY4CU9D4G04bwCeBpJNFsHjlLtJp5EwWDSGiaucFBvSdDXAtJSC6joKZBWLsEj2fRH9TK-5Xx6ai-s5Vn15a01S8Yup0tjG8rkd_QDyfQ/s1310/13.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1310" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoUdMzrUm7SqvOOuQcq9xpjKoV0btQS70Z1ciptjG7cO4ImuI1tirxn_w0l6MIvI1OUkPdmYeKxwZvq_Fmx-hY4CU9D4G04bwCeBpJNFsHjlLtJp5EwWDSGiaucFBvSdDXAtJSC6joKZBWLsEj2fRH9TK-5Xx6ai-s5Vn15a01S8Yup0tjG8rkd_QDyfQ/s320/13.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk-P7FQdh32dG8TgU79u34uLsjxB13Zy_yJHbIRxP14EW45KN49v1C29lpDM5HqZux4uq1_Hp52r74x_CJe5apd-QNMEAnJz2BQADGGKxbcbnePDwxkGTIJe5k3kB6g6xT7wHFc-Nh7Mx3ILlSmKNylwMeJiGBwGN0SUXuwY5rFC7BKXCGlzrbEdaTEDA/s1310/14.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1310" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk-P7FQdh32dG8TgU79u34uLsjxB13Zy_yJHbIRxP14EW45KN49v1C29lpDM5HqZux4uq1_Hp52r74x_CJe5apd-QNMEAnJz2BQADGGKxbcbnePDwxkGTIJe5k3kB6g6xT7wHFc-Nh7Mx3ILlSmKNylwMeJiGBwGN0SUXuwY5rFC7BKXCGlzrbEdaTEDA/s320/14.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQDWVhZnwHxmmzCfTOpvlRJQvP5SGF8OXN7WxSQvy3MeZ7dFUhKdBIX8-npcS3hJ_clSX8Xho-gCwFYfWsk6LUqffbVXoJMsuhyphenhyphenYBrXNZ8RoIFrrRYryjUo5UAWxc7lYTdfzNaq345BJrPiLAUguOB6dlgyIvl9njWGHjs22I45p5YZII_XD9x7RNHJQ/s1310/15.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1310" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQDWVhZnwHxmmzCfTOpvlRJQvP5SGF8OXN7WxSQvy3MeZ7dFUhKdBIX8-npcS3hJ_clSX8Xho-gCwFYfWsk6LUqffbVXoJMsuhyphenhyphenYBrXNZ8RoIFrrRYryjUo5UAWxc7lYTdfzNaq345BJrPiLAUguOB6dlgyIvl9njWGHjs22I45p5YZII_XD9x7RNHJQ/s320/15.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi8P1q25TLjgckSNE7R2MOf9BZz6zgJVRMuGy6mqd5Rv-35ct_VedWKMPB5saiiolmrn6uTBc42t7iF9Tzl6wHbnlkO4YGEU-hWmQXYBvuKOScBEyHtE2o4AGtAUacopqT7uh5eo9mAI5ZGD_1gtYLFePjL9XsqfhFa4nmdKPAuVcwm8R6-09BueDFMXQ/s1310/16.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1310" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi8P1q25TLjgckSNE7R2MOf9BZz6zgJVRMuGy6mqd5Rv-35ct_VedWKMPB5saiiolmrn6uTBc42t7iF9Tzl6wHbnlkO4YGEU-hWmQXYBvuKOScBEyHtE2o4AGtAUacopqT7uh5eo9mAI5ZGD_1gtYLFePjL9XsqfhFa4nmdKPAuVcwm8R6-09BueDFMXQ/s320/16.png" width="320" /></a></div><br /><span style="text-align: left;">But leaving is not so simple: witness the long, moving sequence shot that closes </span><i style="text-align: left;">Funérailles</i><span style="text-align: left;">, a long on-camera confession by the filmmaker who admits he can't stop there, while the film itself stretches on into the minutes of an "interminable" epilogue - that of a work "that doesn't want to end, that wants to stay in fact."</span><p align="JUSTIFY" style="margin-bottom: 0in;"><span style="text-align: left;">Just when we thought Babel was finished, here comes a final film that (really?) concludes a work that never ends. </span><i style="text-align: left;">Fantômes du passé [comment l’histoire est entrée en moi] </i><span style="text-align: left;">has a special status all the same. Bonus, after-the-fact commentary, filmic will-o'-the-wisp? More like a kind of balance sheet, an opportunity to plunge back into the archives of a life. The film is based on a gap, on a wound and a crack - the one that appeared in the life and heart of the filmmaker himself (who suffered a heart attack before making the film), and the one discovered on the wall of his studio, to which it seems strangely to respond. Cracked heart, cracked wall: two cracks that become one, from which all sorts of past ghosts escape to form yet another stone to be placed on </span><i style="text-align: left;">Babel</i><span style="text-align: left;">. As if aware of the reprieve he's been granted, Lehman goes through his film like a quasi-ghost at first, refusing to let himself be filmed, hiding his face by turning his back to the camera, or behind a paper mask made from various photos of himself. Although he eventually drops the mask, this little game of hide-and-seek continues, with Boris allowing himself to be filmed by a friend (Sarah Moon Howe, also co-director of the film) while he goes about his business, as if indifferent to the film being made, tidying up his studio, among his reels and archives - those of his own life as well as those of history and the great events that have accompanied it, and of which the film is intended as an exploration, a little tour d'horizon - a stroll. "I show you the story, how it entered me. It's my story, but it's everyone's story too." A film that takes stock and provides an overview of a filmed life, </span><i style="text-align: left;">Ghosts of the Past</i><span style="text-align: left;"> acts as a final inventory before disappearance: the revisiting of a work, in the sense that ghosts sometimes come to "revisit" us - when they too cannot bring themselves to disappear altogether.</span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvYLUf8trJJpWA00g0Ze4HwyLXVcSBhiBrvJBrUsHQY8FdB4hP4JJdS0ofN-gEhOr6MiXRQrFPlgVL9COvqpeYQX6AQEnJyF6Oo0PDDhgCRmeB8WWqzQRzac670_Tc9m9q8CQm-yDIm9OT6HRi16QOUMm4VkuU0pMZJkj9rCMUjmvPVIO5BsdsQetjTMI/s1310/18.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1310" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvYLUf8trJJpWA00g0Ze4HwyLXVcSBhiBrvJBrUsHQY8FdB4hP4JJdS0ofN-gEhOr6MiXRQrFPlgVL9COvqpeYQX6AQEnJyF6Oo0PDDhgCRmeB8WWqzQRzac670_Tc9m9q8CQm-yDIm9OT6HRi16QOUMm4VkuU0pMZJkj9rCMUjmvPVIO5BsdsQetjTMI/s320/18.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjQ87FU09rWd7jzJeUsnTxZuE-aLSGHau5ATGsgCkLEQZs5aNds9NTzPY4C6R-gZiRGO9OrXaRIF4S64CXsn8cIE1z9eKJpN1NZs3gqDMM4odQabj_dKjnwyWO-Eu_gDwUmE-vUpQgXxeKJlKFRxgRYUqeBMpY5MXwL0EwHuut9uOdxcFrk4n6B3W6xEo/s1514/19.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1514" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjQ87FU09rWd7jzJeUsnTxZuE-aLSGHau5ATGsgCkLEQZs5aNds9NTzPY4C6R-gZiRGO9OrXaRIF4S64CXsn8cIE1z9eKJpN1NZs3gqDMM4odQabj_dKjnwyWO-Eu_gDwUmE-vUpQgXxeKJlKFRxgRYUqeBMpY5MXwL0EwHuut9uOdxcFrk4n6B3W6xEo/s320/19.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgju96icN2RMAssgjRp8zWyQY1f8w6U-tyJ1_bg_BwsNXIDYIJqbyT2z7MMIAW7oXkUs8yMz3ZY4MCKEwJQYt4AwAiq8L9xj_9UT9KHSFjaASPkOLAW1B5FkXU6f5dpF1YYiiE8xA7kXWn_ECbj5v_7xzkUT84_yQCDKPVWqrgX13aQqHHRRbskqbKiSO8/s1514/20.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1514" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgju96icN2RMAssgjRp8zWyQY1f8w6U-tyJ1_bg_BwsNXIDYIJqbyT2z7MMIAW7oXkUs8yMz3ZY4MCKEwJQYt4AwAiq8L9xj_9UT9KHSFjaASPkOLAW1B5FkXU6f5dpF1YYiiE8xA7kXWn_ECbj5v_7xzkUT84_yQCDKPVWqrgX13aQqHHRRbskqbKiSO8/s320/20.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzAew4z-CVOY4uEYmPDp9Ly43VhrWBGRIAyVr2Lg7JgC5jluMYogLjGkgc1oZLwp6znN1kZ8eKemnSe7AKI1cO9LjEMPCry6I136aJWldk2pVik1GnXXqwZBVoGKvVcNVP9OZNdiefbsuaMSZmr3pALhQ6cMppa2renorG7uV4fxQjl4JNtohnrfhmnxM/s1536/21.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1536" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzAew4z-CVOY4uEYmPDp9Ly43VhrWBGRIAyVr2Lg7JgC5jluMYogLjGkgc1oZLwp6znN1kZ8eKemnSe7AKI1cO9LjEMPCry6I136aJWldk2pVik1GnXXqwZBVoGKvVcNVP9OZNdiefbsuaMSZmr3pALhQ6cMppa2renorG7uV4fxQjl4JNtohnrfhmnxM/s320/21.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="text-align: left;">How to finish? This is the question that haunts the end of this cycle, and that each film poses, first in the background, then more and more head-on. But is it really possible? In the light of what emerges from these latest films, we may well doubt it, since it seems more improbable than ever to see an end to something that can't bring itself to end, to something that is perhaps destined never to end - as long as there's breath left, a few scraps of film, a few photos found in a drawer or under a bed, as if by miracle, as if by happy chance: a sign that we must go on.</span><p></p><p align="JUSTIFY" style="margin-bottom: 0in;"><span style="text-align: left;">This is the logic of all collectors, for whom nothing is ever closed, for whom everything is always open, can always have a new element added to it, yet another little piece here and there... But this doesn't alter the whole, whose internal logic, its profound coherence, is one of permanent welcome.</span></p><p align="JUSTIFY" style="margin-bottom: 0in;"><span style="text-align: left;">More than an impregnable tower, </span><i style="text-align: left;">Babel</i><span style="text-align: left;"> is a citadel open to all the noises of the world, all the off-fields of history and time. How do you finish? By not finishing," replies the filmmaker.</span></p><p align="CENTER" style="margin-bottom: 0in;">*</p><p align="CENTER" style="margin-bottom: 0in;"><span style="text-align: left;">For those who wish to continue their discovery of Boris Lehman's work, the DVD box set </span><i style="text-align: left;">Babel (fin de cycle)</i><span style="text-align: left;"> published by RE:VOIR includes the 4 films:</span></p><p align="JUSTIFY" style="margin-bottom: 0in;">- <i>Oublis, regrets et repentirs</i> (2016, 42 minutes)<br />- <i>Une Histoire de cheveux (Sibérie)</i> (2020, 97 minutes)<br />- <i>Funérailles (on the art of dying)</i> (2016, 97 minutes)<br />- <i>Fantômes du passé [comment l’histoire est entrée en moi] </i>(2020, 87 minutes)<br />All accompanied by a 112-page bilingual booklet published by Yellow Now Editions and the Boris Lehman Foundation.</p><p align="JUSTIFY" style="margin-bottom: 0in;">Official release date: March 3, 2024.</p><p align="JUSTIFY" style="margin-bottom: 0in;"><span style="text-align: left;">Available here: <a href="https://re-voir.com/shop/fr/boris-lehman/1597-boris-lehman-babel-fin-du-cycle.html">https://re-voir.com/shop/fr/boris-lehman/1597-boris-lehman-babel-fin-du-cycle.html</a></span></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-80068027125989278662023-12-20T07:20:00.000-08:002023-12-20T07:22:23.605-08:00DVD release of Footprints: Bill Morrison's film on Bluray Digipack<p><span style="font-size: medium;"><span style="font-family: verdana;"></span></span><span style="font-size: medium;"><span class="s3" style="font-family: verdana;"> </span></span></p><p><span style="font-size: medium;"><span class="s3" style="font-family: verdana;"><a href="https://re-voir.com/shop/en/film-revoir-experiemental-film-dvd/1582-footprints.html">Available here / Disponible ici</a></span></span></p><p><span style="font-size: medium;"><span class="s3" style="font-family: verdana;"></span></span><br /></p><p><span style="font-size: medium;"><span><span style="font-family: verdana;"><u>FRANÇAIS (English version below)</u></span></span></span></p><p><span style="font-size: medium;"><span class="s3" style="font-family: verdana;"></span><span style="font-family: verdana;">Digipack BluRay avec 15 films de Bill Morrison<br />+ livret bilingue FR/EN de 44 pages avec des textes de Anne-Violaine Houcke, Laura Staab<span class="Apple-converted-space"> et Steve Dollar</span></span></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNiWl2ug8y92Xt7ttbbgHokDLg-eIr35kL6uu8JN2_LYKUcFGGi5_fGCS6GehA7xm2kLpu5zNB_OGuWaCgh8HnYXCYBvSTxJxgtLEvX29weCluwoBc3nTf0iiuN0LLOzO8VSe-l6ttWHHQ4S1kVtoFw59Um_e1tdLR0c27zl65Bn6jHhgitmZyHEL4pVk/s800/footprints.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNiWl2ug8y92Xt7ttbbgHokDLg-eIr35kL6uu8JN2_LYKUcFGGi5_fGCS6GehA7xm2kLpu5zNB_OGuWaCgh8HnYXCYBvSTxJxgtLEvX29weCluwoBc3nTf0iiuN0LLOzO8VSe-l6ttWHHQ4S1kVtoFw59Um_e1tdLR0c27zl65Bn6jHhgitmZyHEL4pVk/w400-h400/footprints.jpg" width="400" /></a></div><span style="font-size: medium;"><span style="font-family: verdana;"><span class="Apple-converted-space"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHGq98KTX7IlJcXmRKQX9bcCSNBhvbFboytshGF57DLZMIPfYOOa5sRMmlBQE1gJhFKrMkrZV4FBPGPo6jsT2JwUH5tEV8g8yDy0csMsaq-YRQz09qGN9LZ6zGlJqyKC1tJaQuf-3vPnPy2DV2oQWlireKTaDjeAmKV6axy7R_vMyd7Lc_Z4buUNjaDwA/s800/footprints1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHGq98KTX7IlJcXmRKQX9bcCSNBhvbFboytshGF57DLZMIPfYOOa5sRMmlBQE1gJhFKrMkrZV4FBPGPo6jsT2JwUH5tEV8g8yDy0csMsaq-YRQz09qGN9LZ6zGlJqyKC1tJaQuf-3vPnPy2DV2oQWlireKTaDjeAmKV6axy7R_vMyd7Lc_Z4buUNjaDwA/w400-h400/footprints1.jpg" width="400" /></a></div><br /><br /><br /> </span></span></span><p></p><p class="p1"><span style="font-size: medium;"><span class="s1" style="font-family: verdana;"><b>DISTRIBUÉ MONDIALEMENT </b></span><span class="s2" style="background-color: #d0121a; color: white; font-family: verdana;"><b>SAUF EN AMÉRIQUE DU NORD (JUSQU'AU 01/01/2025) ET AU ROYAUME-UNI</b></span><span class="s1" style="font-family: verdana;"> <br /><br />Morrison
libère un film primordial de son destin de matière vouée à la
décomposition et à l’obscurité : entre ses mains, le film se transforme
pour redevenir une expérience. Bien qu’il ne cherche guère à restaurer
les images pour leur rendre l’éclat du neuf, Morrison les restaure bien,
dans leurs différents états de détérioration, pour les rendre au
mouvement et aux gens. Et c’est là que réside en partie la magie de son
cinéma : la magie intemporelle d’images animées sur un écran et devant
un spectateur. – Laura Staab<br /><br />Un film comme <i>Beyond Zero : 1914-1918</i>,
constitué majoritairement d’images d’archives documentaires de la
Première Guerre mondiale, livrées sans légendes ni commentaires, sans
volonté de faire oeuvre d’historien, confronte le spectateur à une
expérience sensible éprouvante du conflit. La dramaturgie monstrueuse à
laquelle on assiste tient à la nature même de l’image photo-filmique,
indicielle et matérielle : les corps des soldats, des blessés, des
infirmières se déforment, s’agitent sous des détériorations qui semblent
des pluies de bombes, se trouent, disparaissent dans la matière en
décomposition du celluloïd. C’est, littéralement, leur dernière trace
laissée en ce monde, imprimée dans le celluloïd, qui disparaît devant
nous. – Anne-Violaine Houcke</span></span></p><p class="p1" style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyH5IXxwtZH6ciarDBhVx9Zh-WSx2g8FapfVIznYt6s2zAIFljxgPkTPtfWrcRBYlnag2Nx8uPGa53rPBPUbyilUOVmbSr6Lj4wdCJbI4YJIaxxNRKsOwknbtFf6B0F8W8axlBo8aHBvKwx1mmtnUvQklxD49B-FT3D51KJaP2YiCNeqCSpd-JjmK8Aq8/s800/footprints2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyH5IXxwtZH6ciarDBhVx9Zh-WSx2g8FapfVIznYt6s2zAIFljxgPkTPtfWrcRBYlnag2Nx8uPGa53rPBPUbyilUOVmbSr6Lj4wdCJbI4YJIaxxNRKsOwknbtFf6B0F8W8axlBo8aHBvKwx1mmtnUvQklxD49B-FT3D51KJaP2YiCNeqCSpd-JjmK8Aq8/w400-h400/footprints2.jpg" width="400" /></a><span style="font-size: medium;"><span class="s1" style="font-family: verdana;"> <br /></span></span></p><p style="text-align: center;">
<span style="font-size: medium;"><span style="font-family: verdana; text-decoration: underline;"><span class="s3">FILMS</span></span><span class="s1" style="font-family: verdana;"><br /><b>FOOTPRINTS</b> / 1992, 6'<br /><b>THE FILM OF HER</b> / 1996 / 12'<br /><b>GHOST TRIP</b> / 2000 / 23'<br /><b>THE HIGHWATER TRILOGY</b> / 2006 / 31'<br /><b>PORCH</b> / 2007 / 9'<br /><b>WHO BY WATER</b> / 2007 / 18'<br /><b>RELEASE</b> / 2010 / 13'<br /><b>JUST ANCIENT LOOPS</b> / 2012 / 26'<br /><b>RE:AWAKENINGS</b> / 2013 / 18'<br /><b>BEYOND ZERO: 1914-1918</b> / 2014 / 40'<br /><b>THE DOCKWORKER’S DREAM</b> / 2015 / 17'<br /><b>THE LETTER</b> / 2018 / 13'<br /><b>WILD GIRL</b> / 2021 / 6'<br /><b>LET ME COME IN</b> / 2021 /11'<br /><b>HER VIOLET KISS</b> / 2021 / 5'<br /></span></span></p><p><span style="font-size: medium;"><span class="s1" style="font-family: verdana;"><br />+ livret bilingue FR/EN de 44 pages avec des textes de Anne-Violaine Houcke, Laura Staab et Steve Dollar</span></span></p><p><span style="font-size: medium;"><span class="s1" style="font-family: verdana;"> <a href="https://vimeo.com/864367351">Pour en savoir plus, voici la bande-annouce.</a></span></span></p><p><span style="font-size: medium;"><span class="s1" style="font-family: verdana;"> </span></span></p><p><u><span style="font-size: medium;"><span class="s1" style="font-family: verdana;">English<br /></span></span></u></p><p><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><p><span style="font-size: medium;"><span style="font-family: verdana;">BluRay Digipack with 15 films by Bill Morrison<br />+ 44-page bilingual FR/EN booklet with texts by Anne-Violaine Houcke, Laura Staab and Steve Dollar</span></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM2SNZSIpTwu6uQwxrWmCRPfXjVUVLNTL2ok_nVw4GWrPUThpor5a7voWVljJ0kMACXTynPdlcPau9V3rIfu9JuKLxZbo7KJYdHRB0kbNG9I2d1I3WUe-XN-ZYbaji3V0vKKnF39WMFe4G0Wm4kSxDrfL5Cj6fY-BLgEmCYXdf3Wti4q-RTDfixgJkptY/s800/footprints.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM2SNZSIpTwu6uQwxrWmCRPfXjVUVLNTL2ok_nVw4GWrPUThpor5a7voWVljJ0kMACXTynPdlcPau9V3rIfu9JuKLxZbo7KJYdHRB0kbNG9I2d1I3WUe-XN-ZYbaji3V0vKKnF39WMFe4G0Wm4kSxDrfL5Cj6fY-BLgEmCYXdf3Wti4q-RTDfixgJkptY/w400-h400/footprints.jpg" width="400" /></a></div><span style="font-size: medium;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdkG3y2s0W_DrGCRvwQaRRI8a_aytbSuJGhprA7tT2eCext5NyVURBXgQviJnn1zowKumtT_DchzsDGUkms-9GlYKYnYCD7krEerkEVXcDDjupLJd10JgunIo9XrG2ARGWYFTAUS0oqX-LaBgdXzXy4YRBOpf7xp9noWsRdJ_DyJpACBPktE4dT6mLbCU/s800/footprints1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdkG3y2s0W_DrGCRvwQaRRI8a_aytbSuJGhprA7tT2eCext5NyVURBXgQviJnn1zowKumtT_DchzsDGUkms-9GlYKYnYCD7krEerkEVXcDDjupLJd10JgunIo9XrG2ARGWYFTAUS0oqX-LaBgdXzXy4YRBOpf7xp9noWsRdJ_DyJpACBPktE4dT6mLbCU/w400-h400/footprints1.jpg" width="400" /></a></div><br /><br /><br /> </span></span><p></p><p class="p1"><span style="font-size: medium;"><span class="s1" style="font-family: verdana;"><b>DISTRIBUTED WORLDWIDE </b></span><span class="s2" style="background-color: #d0121a; color: white; font-family: verdana;"><b>EXCEPT IN NORTH AMERICA (UNTIL 01/01/2025) AND THE UNITED KINGDOM</b></span></span></p>
<p class="p2"><span style="font-size: medium;"><span class="s3" style="font-family: verdana;">Morrison releases primordial film from
being material that is destined to decomposition and darkness: in his
hands, it transforms to become film as experience once more.
Uninterested in restoring images to a pristine state, Morrison is
nonetheless invested in restoring images, in various conditions of
collapse, to movement and to people. And this is some of the magic of
his cinema: that timeless magic of images being animated on a screen
before a spectator. – Laura Staab</span></span></p>
<p class="p2"><span style="font-size: medium;"><span class="s3" style="font-family: verdana;">A film like <i>Beyond Zero: 1914-1918</i>,
mainly made up of archival documentary footage from the First World
War, presented without any captions or commentary, without the authority
of a historian, gives viewers a harrowing sensory experience of the
conflict. The monstrous drama stems from the very nature of photo-filmic
celluloid, which is both indexical and material: the bodies of the
soldiers, of the wounded and of the nurses are deformed, they shake
under the filmic damage which looks like bombs raining down, they are
riddled with holes, they disappear in decomposing celluloid. This is,
quite literally, the last trace they will leave in this world, printed
on celluloid, disappearing before our very eyes. – Anne-Violaine Houcke</span></span></p><p class="p2" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVlrIzvY_xB0c_ztv7g-0j0xOvZ6CCEe0dW9anBSCm9Q9APAtUgcLabwqRXrcawj2VWbrcB8UHTxNWflxMABSl3eu3ciZ56cvddcHnHNQTjcHufAmtjfd-gBTUwnj585M7Vmc-39AytYiUXwES5xx-mHY_1JVfmMGL4gaKBGPAaI_OhIn03yoFsr1Qsr0/s800/footprints2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVlrIzvY_xB0c_ztv7g-0j0xOvZ6CCEe0dW9anBSCm9Q9APAtUgcLabwqRXrcawj2VWbrcB8UHTxNWflxMABSl3eu3ciZ56cvddcHnHNQTjcHufAmtjfd-gBTUwnj585M7Vmc-39AytYiUXwES5xx-mHY_1JVfmMGL4gaKBGPAaI_OhIn03yoFsr1Qsr0/w400-h400/footprints2.jpg" width="400" /></a></span></span><span style="font-size: medium;"><span class="s3" style="font-family: verdana;"> <br /></span></span></p>
<p class="p2" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; text-decoration: underline;"><span class="s4">FILMS</span></span><span class="s3" style="font-family: verdana;"><br /><b>FOOTPRINTS</b> / 1992, 6'<br /><b>THE FILM OF HER</b> / 1996 / 12'<br /><b>GHOST TRIP</b> / 2000 / 23'<br /><b>THE HIGHWATER TRILOGY</b> / 2006 / 31'<br /><b>PORCH</b> / 2007 / 9'<br /><b>WHO BY WATER</b> / 2007 / 18'<br /><b>RELEASE</b> / 2010 / 13'<br /><b>JUST ANCIENT LOOPS</b> / 2012 / 26'<br /><b>RE:AWAKENINGS</b> / 2013 / 18'<br /><b>BEYOND ZERO: 1914-1918</b> / 2014 / 40'<br /><b>THE DOCKWORKER’S DREAM</b> / 2015 / 17'<br /><b>THE LETTER</b> / 2018 / 13'<br /><b>WILD GIRL</b> / 2021 / 6'<br /><b>LET ME COME IN</b> / 2021 /11'<br /><b>HER VIOLET KISS</b> / 2021 / 5'</span></span></p><p>
<span style="font-size: medium;"><span class="s3" style="font-family: verdana;">+ 44-page bilingual FR/EN booklet with texts by Anne-Violaine Houcke, Laura Staab and Steve Dollar</span></span></p><p><a href="https://vimeo.com/864367351"><span style="font-size: medium;"><span class="s1" style="font-family: verdana;"> To find more, here is the trailer.</span></span></a></p><p><span style="font-size: medium;"><span class="s1" style="font-family: verdana;"> </span></span></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-3988895521985804942023-12-13T07:03:00.000-08:002023-12-13T07:21:49.391-08:00DVD release of Doc's Kingdom / Scenes from the Class Struggle in Portugal<br /><p><span style="font-family: verdana; text-decoration: underline;"><b><span>PRÉ-VENTE À PARTIR DU 13 DÉCEMBRE</span></b></span><span style="font-family: verdana;"><b> -</b><span style="text-decoration: underline;"><b><span> </span></b></span><b>SORTIE OFFICIELLE LE 11 JANVIER</b></span></p><p><span style="font-family: verdana;"><b> </b></span></p><p><span style="font-family: verdana;"><b><a href="https://re-voir.com/shop/en/robert-kramer/1584-doc-s-kingdom-scenes-from-the-class-struggle-in-portugal.html">Available here / Disponible ici</a></b></span><span style="font-family: verdana;"><b> <br /></b></span></p><p><span style="font-family: verdana;"><b> </b></span></p><p><span style="font-family: verdana;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj02syIlF-O-bvHjnuZSy9RrhyphenhyphenFZrXs6DcHNQ9-sAOtMG9Ik4z8VkrEVTntuuS1Yn7YkP_TvgduyXnNChoysTjqMim0Ri2k9Rk0rdondm-CfQyWBcj2IFy-TlZUtjcHzU2iGpqjJgIHTL3LWhxcCp5IZdBB2qDuxrWuH2FkqroA8RRq5yA5CN5UE_SOy8w/s800/doc-s-kingdom-scenes-from-the-class-struggle-in-portugal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj02syIlF-O-bvHjnuZSy9RrhyphenhyphenFZrXs6DcHNQ9-sAOtMG9Ik4z8VkrEVTntuuS1Yn7YkP_TvgduyXnNChoysTjqMim0Ri2k9Rk0rdondm-CfQyWBcj2IFy-TlZUtjcHzU2iGpqjJgIHTL3LWhxcCp5IZdBB2qDuxrWuH2FkqroA8RRq5yA5CN5UE_SOy8w/w400-h400/doc-s-kingdom-scenes-from-the-class-struggle-in-portugal.jpg" width="400" /></a></b></div><b><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaCfIuF03IDV61IoNN58z6lgMtqabXqT5jZUiHyPTNwpRtcBJaLXqpXjBjmB3tR2hamujs4ahWAVqbCFdcAc4-3oq-rMRSBbc_4vfQepPKPooKT-0TqSuXZOHY8oVjt8IAVVr9Sq-OaGRY0QfuZQa7qFUuStSWHtMdRzjSFxgvbwkMqBK2qlMqIWdzcIs/s800/doc-s-kingdom-scenes-from-the-class-struggle-in-portugal1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaCfIuF03IDV61IoNN58z6lgMtqabXqT5jZUiHyPTNwpRtcBJaLXqpXjBjmB3tR2hamujs4ahWAVqbCFdcAc4-3oq-rMRSBbc_4vfQepPKPooKT-0TqSuXZOHY8oVjt8IAVVr9Sq-OaGRY0QfuZQa7qFUuStSWHtMdRzjSFxgvbwkMqBK2qlMqIWdzcIs/w400-h400/doc-s-kingdom-scenes-from-the-class-struggle-in-portugal1.jpg" width="400" /></a></div><br /><br /> </b><p></p><div style="text-align: left;"><p class="p1"><span style="font-size: medium;"><span style="font-family: verdana;">A partir de 1975 et de la révolution des OEillets, Robert
Kramer noue avec le Portugal un puissant lien politique et
cinématographique qui s’exprime notamment à travers quatre oeuvres
successives : <i>With Freedom in Their Eyes</i> (1976), un livre de
photographies prises en Angola au moment où le pays se libère du colon
portugais et tombe dans la guerre civile ; le documentaire militant <i>Scenes from the Class Struggle in Portugal</i> (1977), qui fait le point sur la révolution ; <i>L’Etat des choses</i>
de Wim Wenders (1982), produit par le Portugais Paolo Branco, tourné à
Sintra et dont Kramer a coécrit le scénario ; Doc’s Kingdom (1988),
produit par le même Paolo Branco, et où le personnage de Doc, né dans <i>Ice</i> en 1969, dérive mélancoliquement sur les quais de Porto avant de retourner aux États-Unis deux ans plus tard dans <i>Route One/USA</i>.</span></span></p>
<p class="p1"><span style="font-size: medium;"><span style="font-family: verdana;">« Je vis et je filme à l’étranger, depuis 1979. De mes huit derniers films, <i>Doc’s Kingdom</i>
est le premier que j’ai pu tourner en anglais. C’est aussi le premier
qui revient sur mon matériau : les États-Unis, un chez soi, votre pays,
ce dont vous faites inévitablement partie et ce à quoi vous êtes à
jamais extérieur. » (Robert Kramer)</span></span></p><p class="p1"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p>
<p class="p1" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; text-decoration: underline;"><b>FILMS</b></span><span style="font-family: verdana;"><br />DOC'S KINGDOM / 1988 / 90'<br />SCENES FROM THE CLASS STRUGGLE IN PORTUGAL / 1977 / 90'<br />+ livret bilingue FR/EN de 52 pages</span></span></p><p class="p1" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><p class="p1" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio54E_I7g_1EOthnMo6kNnT-dKHTU1UUR58NA7hj-BBun0eGZt_TtG6_4AJXWhQJdEdnAEWTWNTgYQFPBhn_Gb4WBCKajaUUjo7mVwwTuC0Cq4DNHweX3iN8zUdZEaRSvoX5KebH86hU9YrBVhpY7wKWcsn7HUVxJJWDoCzRugcoWGBjbXJd_71517eT0/s800/doc-s-kingdom-scenes-from-the-class-struggle-in-portugal2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio54E_I7g_1EOthnMo6kNnT-dKHTU1UUR58NA7hj-BBun0eGZt_TtG6_4AJXWhQJdEdnAEWTWNTgYQFPBhn_Gb4WBCKajaUUjo7mVwwTuC0Cq4DNHweX3iN8zUdZEaRSvoX5KebH86hU9YrBVhpY7wKWcsn7HUVxJJWDoCzRugcoWGBjbXJd_71517eT0/w400-h400/doc-s-kingdom-scenes-from-the-class-struggle-in-portugal2.jpg" width="400" /></a></span></div><span style="font-size: medium;"><br /> </span><p></p><p class="p1" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><p class="p1" style="text-align: left;"><u><span style="font-size: medium;"><span style="font-family: verdana;">English </span></span></u></p><p class="p1" style="text-align: left;"><u><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></u></p><p class="p1" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: verdana;"><span><b><span style="text-decoration: underline;">PRE-SALE FROM DECEMBRE 8</span></b></span> - <span><b>OFFICIAL RELEASE JANUARY 11</b></span></span></span></p><p class="p1" style="text-align: center;"><span style="font-family: verdana; font-size: medium;"> </span></p><p class="p1"><span style="font-size: medium;"><span style="font-family: verdana;">Following the Carnation Revolution in 1975, Robert Kramer
forged a powerful political and cinematic bond with Portugal, which he
expressed in four successive projects: <i>With Freedom in Their Eyes</i>
(1976), a book of photographs taken in Angola when the country was
liberated from Portuguese colonial rule and descended into civil war;
the activist documentary <i>Scenes from the Class Struggle in Portugal</i> (1977), which analyzes the country’s revolution; Wim Wenders’ <i>The State of Things</i> (1982), made with Portuguese producer Paolo Branco, filmed in Sintra and co-scripted by Kramer; <i>Doc’s Kingdom</i>
(1988), produced by Paolo Branco, in which the Doc character, first
seen in Ice in 1969, wistfully drifts around Porto’s docks before
returning to the United States two years later in <i>Route One/USA</i>.</span></span></p>
<p class="p1"><span style="font-size: medium;"><span style="font-family: verdana;">“I’ve been living and filming abroad since 1979. <i>Doc’s Kingdom</i>
is the first of the last eight movies I’ve been able to shoot in
english. It is also the first to get back into my material : the USA, a
home, a home land, what you are inevitably a part of and what you are
forever outside.” (Robert Kramer)</span></span></p><p class="p1"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p>
<p class="p1" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; text-decoration: underline;"><span><b>FILMS</b></span></span><span style="font-family: verdana;"><br />DOC'S KINGDOM / 1988 / 90'<br />SCENES FROM THE CLASS STRUGGLE IN PORTUGAL / 1977 / 90'<br />+ 52-page bilingual booklet</span></span></p><p class="p1" style="text-align: center;"><span style="font-family: verdana; font-size: medium;"> </span></p><p class="p1" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><span style="font-family: verdana;"><b> </b></span></div>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-35616949043233374112023-09-20T06:28:00.000-07:002023-12-13T06:52:20.617-08:00DVD release of Cinex 12 : Su Friedrich<div style="text-align: left;"><span style="font-size: medium;"><span><span style="font-family: verdana;"><u>FRANÇAIS (English version below)</u></span></span></span></div><p></p><p><span style="font-family: verdana; font-size: medium;"> </span></p><p><span style="font-family: verdana; font-size: medium;">Sortie
en DVD de "Cinex 12 : Su Friedrich" avec un documentaire sur le
cinéaste Su Friedrich par Frédérique Devaux et Michel Amarger et 4
courts métrages de l'artiste en bonus.</span></p><p><span style="font-family: verdana; font-size: medium;"> </span></p><p><span style="font-family: verdana; font-size: medium;"><span style="font-family: verdana;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzRVRyLGyaZJRcWaR7yBJfH753nT2_Y0ACnxHXuhOrJqXwkvpsIpY3Q1d4WesWXhH_1aNZODSzjcVdL7NWi9jPn7fMGedN9doNvwhK8azwHnPKj2jZlx2T2myo5Oio3FuI4uaQVz_g31XAUGz9TjGj7JEsNMetD_06T7jcI8lZkK7lc7XGFGqtPDORTXY/s330/cinexperimentaux-12-su-friedrich.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="330" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzRVRyLGyaZJRcWaR7yBJfH753nT2_Y0ACnxHXuhOrJqXwkvpsIpY3Q1d4WesWXhH_1aNZODSzjcVdL7NWi9jPn7fMGedN9doNvwhK8azwHnPKj2jZlx2T2myo5Oio3FuI4uaQVz_g31XAUGz9TjGj7JEsNMetD_06T7jcI8lZkK7lc7XGFGqtPDORTXY/w400-h400/cinexperimentaux-12-su-friedrich.jpg" width="400" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnFfa9TBIjiDT0SD9vXt5go00Q-DthLHnMrT8YVAXswdA2zTGy06T2XmaR8KAs1cytbUWYqKoyus-ki-ncfK-t5l3ZGhsnrTXPHrDFlTG8fWQA2Bz5fDmURsat9uIUIGEQhs35pgdttMBncqIgsYp6jp6823G0KeiVZEPs40FUQ2ywhe35eZPEyL4quyA/s511/cinexperimentaux-12-su-friedrich-.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="367" data-original-width="511" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnFfa9TBIjiDT0SD9vXt5go00Q-DthLHnMrT8YVAXswdA2zTGy06T2XmaR8KAs1cytbUWYqKoyus-ki-ncfK-t5l3ZGhsnrTXPHrDFlTG8fWQA2Bz5fDmURsat9uIUIGEQhs35pgdttMBncqIgsYp6jp6823G0KeiVZEPs40FUQ2ywhe35eZPEyL4quyA/w400-h288/cinexperimentaux-12-su-friedrich-.jpg" width="400" /></a></span></div><p><span style="font-size: medium;"><br /></span></p><p style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; border: 0px none; box-sizing: border-box; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; line-height: 20px; margin: 0px 0px 10px; padding: 0px; text-align: center; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: verdana;">Film documentaire sur le cinéaste Su Friedrich par Frédérique Devaux et Michel Amarger. </span></span></p><p style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; border: 0px none; box-sizing: border-box; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; line-height: 20px; margin: 0px 0px 10px; padding: 0px; text-align: center; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></p><p style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; border: 0px none; box-sizing: border-box; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; line-height: 20px; margin: 0px 0px 10px; padding: 0px; text-align: left; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: verdana;">Su Friedrich, née en 1954 à New Haven, est installée à Brooklyn.<br style="box-sizing: border-box;" />Elle
signe des films indépendants dès les années 1970, explorant depuis
ses débuts la condition des femmes, la revendication des combats
lesbiens, son histoire familiale, l’évolution de la société
américaine. A travers ses recherches graphiques à même la pellicule,
ou incrustées dans ses œuvres numériques, avec un regard acéré, elle
développe, dans la fiction, le documentaire, le témoignage militant,
une quête et une critique identitaire dans son environnement.<br style="box-sizing: border-box;" /><br style="box-sizing: border-box;" /></span></span></p><p style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; border: 0px none; box-sizing: border-box; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; line-height: 20px; margin: 0px 0px 10px; padding: 0px; text-align: center; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: verdana;"><span style="border: 0px none; box-sizing: border-box; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: underline; vertical-align: baseline;">FILMS</span></span></span></p><p style="border: 0px none; box-sizing: border-box; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: 20px; margin: 0px 0px 10px; padding: 0px; text-align: center; vertical-align: baseline;"><span style="font-size: medium;"><span><span style="font-family: verdana;">CINEXPÉRIMENTAUX #12 : SU FRIEDRICH</span></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span><span style="font-family: verdana;">+ 3 films de Su Friedrich<br style="box-sizing: border-box;" /></span></span></span></p><p style="border: 0px none; box-sizing: border-box; font-family: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: 20px; margin: 0px 0px 10px; padding: 0px; text-align: center; vertical-align: baseline;"><span style="font-size: medium;"><span><span style="font-family: verdana;">BUT NO ONE 1982, 9’<br style="box-sizing: border-box;" />SEEING RED 2005, 28’<br style="box-sizing: border-box;" />CINETRACTS 2020, 2’<br style="box-sizing: border-box;" />MICROCOMSME 2015, 4’ document par Su Friedrich</span></span></span></p><p><span style="font-size: medium;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="413" src="https://www.youtube.com/embed/Z7PMmuhc8iA" width="497" youtube-src-id="Z7PMmuhc8iA"></iframe></div><br /><span style="font-size: medium;"><br /></span><p></p><p><span style="font-size: medium;"><br /></span></p><p><span style="font-size: medium;"><span><span style="font-family: verdana;"><u>English</u></span></span></span></p><p><span style="font-size: medium;"><br /></span></p><p><span style="font-family: verdana; font-size: medium;">DVD release of "Cinex 12 : Su Friedrich" with a documentary film about
the filmmaker Su Friedrich by Frédérique Devaux and Michel Amarger and 4
bonus shorts by the artist.</span></p><p><span style="font-size: medium;"><br /></span></p><p style="text-align: center;"><span style="font-family: verdana; font-size: medium;">Documentary film about the filmmaker Su Friedrich by Frédérique Devaux and Michel Amarger.<br /></span></p><p><span style="font-family: verdana; font-size: medium;"><br /></span></p><p><span style="font-family: verdana; font-size: medium;">Su Friedrich, born in 1954 in New Haven, is based in Brooklyn. She has
been making independent films since the late 1970s, exploring women’s
condition, the lesbian struggle, her family history and the evolution of
American society since her beginnings. Through her graphic research in
16mm film, or embedded in her digital works, with a sharp eye she
develops, in fiction, documentary and militant testimony a quest and a
critique of identity in her environment.</span></p><p><span style="font-family: verdana; font-size: medium;"> </span></p><p style="text-align: center;"><span style="font-family: verdana; font-size: medium;"><span style="text-decoration: underline;">FILMS</span></span>
</p><p style="text-align: center;"><span style="font-family: verdana; font-size: medium;">CINEXPÉRIMENTAUX #12 : SU FRIEDRICH</span></p><div style="text-align: center;"><span style="font-family: verdana; font-size: medium;">
+ 3 films by Su Friedrich<br />
BUT NO ONE 1982, 9’<br />SEEING RED 2005, 28’<br />CINETRACTS 2020, 2’<br />MICROCOMSME 2015, 4’ document by Su Friedrich</span></div><div style="text-align: center;"><span style="font-family: verdana; font-size: medium;"> </span></div><div style="text-align: center;"><span style="font-size: medium;"> </span></div><p><span style="font-size: medium;"> </span></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-75387568600391486822023-03-22T10:59:00.000-07:002023-12-08T06:32:00.240-08:00DVD collection of Stan Vanderbeek's films<div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: verdana;"><u> FRANÇAIS (English version below)</u></span></span></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: verdana;"><span style="font-family: verdana; font-size: medium;"> </span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: verdana;"><span style="font-family: verdana; font-size: medium;">Nouvelles
éditions Stan Vanderbeek : 3 collections de ses courts métrages,
disponibles séparément ou réunis dans un coffret. Plus de 5 heures de
film au total. Tous les films ont été scannés.</span> </span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: verdana;">La collection DVD de Stan Vanderbeek sort officiellement en mars 2023.</span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: verdana;"> <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI4F0yI_g3-JXAMtre_lvEVdreIbEUyTUmXnAJ2cW9gFUNUXPAO-677YK3Puu0nxFqCiynt4ZWlivMChoHOwW7G876nd4_P5VWKG32YSpDrB42w0OIx_XYDUCpc3Ga-vJe7Wdw0I-UBVP7Gkn-xoMyUr_eN9FZaOPbzA-z-qY5cp4JDlADPm8Pg2KmGdY/s800/stan-vanderbeek-visibles-dvd-boxset.jpg0.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI4F0yI_g3-JXAMtre_lvEVdreIbEUyTUmXnAJ2cW9gFUNUXPAO-677YK3Puu0nxFqCiynt4ZWlivMChoHOwW7G876nd4_P5VWKG32YSpDrB42w0OIx_XYDUCpc3Ga-vJe7Wdw0I-UBVP7Gkn-xoMyUr_eN9FZaOPbzA-z-qY5cp4JDlADPm8Pg2KmGdY/w400-h400/stan-vanderbeek-visibles-dvd-boxset.jpg0.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfwR0He6lpLnrbixdYctLMprqUmoSRjXTYtxKwwjwqpwO7Dz5fitFdqsoLe3DsrtPuvP-W6hHRAz57zYa5VmDBjwmEdyyHmpXN_-KuBv1AYZVjV5-oXQSs5JMWiaqmRWAqL80NDYADlGnIVyQJb6GMDL06JMDOF3mYPJMrWutJy0jKsBHQe8l0tqOiMAI/s800/stan-vanderbeek-visibles-coffret-dvd.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfwR0He6lpLnrbixdYctLMprqUmoSRjXTYtxKwwjwqpwO7Dz5fitFdqsoLe3DsrtPuvP-W6hHRAz57zYa5VmDBjwmEdyyHmpXN_-KuBv1AYZVjV5-oXQSs5JMWiaqmRWAqL80NDYADlGnIVyQJb6GMDL06JMDOF3mYPJMrWutJy0jKsBHQe8l0tqOiMAI/w400-h400/stan-vanderbeek-visibles-coffret-dvd.jpg" width="400" /></a></div><span style="font-size: medium;"><br /></span><p style="text-align: left;"></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;">Un coffret avec 31 films par Stan Vanderbeek en 3 DVDs </span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;">Disponible à la commande ici :<a href="https://re-voir.com/shop/en/stan-vanderbeek/1480-stan-vanderbeek-visibles-dvd-boxset.html">https://re-voir.com/shop/en/stan-vanderbeek/1480-stan-vanderbeek-visibles-dvd-boxset.html</a> </span><br /></span></p><p style="text-align: center;"><span style="font-family: verdana; font-size: medium;"><br /></span></p><p style="text-align: center;"><span style="font-family: verdana; font-size: medium;"><br /></span></p><h4 style="text-align: center;"><span style="font-family: verdana; font-size: medium;"><b>VISIBLE 1</b></span></h4><h4 style="text-align: center;"><span style="font-family: verdana; font-size: medium;"><b> </b></span></h4><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;">Le premier volume de notre collection DVD des films de Stan Vanderbeek avec 9 films <br /></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><span style="font-size: medium;"><span style="font-family: verdana;">Disponible à la commande ici: <a href="https://re-voir.com/shop/en/stan-vanderbeek/1475-stan-vanderbeek-visibles-1.html">https://re-voir.com/shop/en/stan-vanderbeek/1475-stan-vanderbeek-visibles-1.html</a></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: verdana;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></span></span><span style="font-family: verdana; font-size: medium;"> <br /></span></p><div class="separator" style="clear: both; text-align: center;"><p><span style="font-family: verdana; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhJYHaxlgto3f7sD_3XK6T5qznjCdN61TZpW9aCL0U3R2FDXvfSRTkH4GNEc-Qr4pSJSOmpzOG9pnNjfuDXKTQ8jiI6_CHPsYM1EqHSNQ4WYlqyhx6Zz81Iwl_lzauybGKrKO_GTjOPAw/s330/stan-vanderbeek-visibles-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="330" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhJYHaxlgto3f7sD_3XK6T5qznjCdN61TZpW9aCL0U3R2FDXvfSRTkH4GNEc-Qr4pSJSOmpzOG9pnNjfuDXKTQ8jiI6_CHPsYM1EqHSNQ4WYlqyhx6Zz81Iwl_lzauybGKrKO_GTjOPAw/w400-h400/stan-vanderbeek-visibles-1.jpg" width="400" /></a></span></p></div><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzLD-XXOncEXAxVyoX1hEq5snxsTtOfXNzJ1MRUFUWB-2m5H8D-txb2NxP2RHWuFnfoluLHjscLNhpErx4CiSEtylsPyZuCKbtuUz1GyiG-NYpaWjiOJdtH56FczaTT6XRG10tawcZtuynBQEv_QUJgzgY5i23zqrfRXkhpZ_iBKrgskmHulhImj4_9ts/s800/stan-vanderbeek-visibles-coffret-dvd.jpg2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzLD-XXOncEXAxVyoX1hEq5snxsTtOfXNzJ1MRUFUWB-2m5H8D-txb2NxP2RHWuFnfoluLHjscLNhpErx4CiSEtylsPyZuCKbtuUz1GyiG-NYpaWjiOJdtH56FczaTT6XRG10tawcZtuynBQEv_QUJgzgY5i23zqrfRXkhpZ_iBKrgskmHulhImj4_9ts/w400-h400/stan-vanderbeek-visibles-coffret-dvd.jpg2.jpg" width="400" /></a></span></div><p style="text-align: left;"></p><div style="text-align: center;" title="Page 1"><p>
</p><div><p>
</p><div><p>
</p><div><p>
</p><p style="text-align: center;"><span style="font-family: verdana; font-size: medium;"> </span></p><p style="text-align: center;"><span style="font-family: verdana; font-size: medium;">La transformation surréaliste d’une passerelle en un œil qui s’ouvre
sur un sentier qui conduit à une fleur rayonnante qui devient un corps
qui devient un paysage produit l’effet, selon les mots de Vanderbeek,
d’une « expérience d’animation dans laquelle l’œil du spectateur
s’enfonce toujours plus profondément dans chaque scène, trouvant de
nouvelles relations et métaphores visuelles dans ce qui semble à
première vue une simple scène... Juxtaposé à ce que nous voyons, il y
a ce que nous croyons voir... Le souvenir du rêve est aussi réel que
le rêve lui-même, tout en étant complètement différent de lui. »<br /></span><span style="font-family: verdana; font-size: medium;">-Janet Vrchota, <i>Print</i> 1973</span></p><p><span style="font-family: verdana; font-size: medium;"> </span></p><p><span style="font-size: medium;"><span style="font-family: verdana; text-decoration: underline;">FILMS<i><br /></i></span><span style="font-family: verdana;"><i>Science Friction</i> (10’) 1959<br /><i>A La Mode</i> (6’) 1959<br /><i>Achooo Mr. Kerrooschev</i> (2') 1960<br /><i>Breathdeath</i> (14’) 1963<br /><i>See Saw Seams</i> (9’)<br /><i>Panels for the Walls of the World</i> (8’) 1967 <br /><i>Poemfield #2</i> (6’) 1966<br /><i>Oh</i> (9’) 1968<br /><i>Symmetricks</i> (6’) 1972 <br /><br /><span style="text-decoration: underline;">BONUS</span><br /><i>Vanderbeekiana!</i> (29’) 1968 <br /></span></span></p><p><span style="font-family: verdana; font-size: medium;"> <br /></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana; font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="279" src="https://www.youtube.com/embed/gV2ChaGUu54" width="385" youtube-src-id="gV2ChaGUu54"></iframe></span></div></div><div><span style="font-family: verdana; font-size: medium;"><br /></span><h4><span style="font-family: verdana; font-size: medium;"><b> </b></span></h4><h4><span style="font-family: verdana; font-size: medium;"><b> </b></span></h4><h4><span style="font-family: verdana; font-size: medium;"><b>VISIBLE 2 </b></span></h4><h4><span style="font-family: verdana; font-size: medium;"><b> </b></span></h4><div><span style="font-family: verdana; font-size: medium;"><b> </b></span><span style="font-size: medium;"><span style="font-family: verdana;">Le deuxième volume de notre collection DVD des films de Stan Vanderbeek avec 11 films</span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;">Disponible à la commande ici :<a href="https://re-voir.com/shop/en/stan-vanderbeek/1476-stan-vanderbeek-visibles-2.html">https://re-voir.com/shop/en/stan-vanderbeek/1476-stan-vanderbeek-visibles-2.html</a> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqv9ulo2VCd7DZh4KmiYPTDyWB9FNiW3DpfdML_uitO6S4YD1Q-NAA5osir59J7rYckSfu3u1Ra6rrB-EPyiZpmi32KJwU4v9hZnHIPQ0Si9ZEbpGP1IRPF6CmVQ2q-_RPDCskHsQbWLvmU7MafDEB4Dvj7HTw4B38GudnJgqgpxrs-845oUmm3wHPz3g/s800/stan-vanderbeek-visibles-coffret-dvd.jpg3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqv9ulo2VCd7DZh4KmiYPTDyWB9FNiW3DpfdML_uitO6S4YD1Q-NAA5osir59J7rYckSfu3u1Ra6rrB-EPyiZpmi32KJwU4v9hZnHIPQ0Si9ZEbpGP1IRPF6CmVQ2q-_RPDCskHsQbWLvmU7MafDEB4Dvj7HTw4B38GudnJgqgpxrs-845oUmm3wHPz3g/w400-h400/stan-vanderbeek-visibles-coffret-dvd.jpg3.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiKulaoRJ_nzdlZvoKEQUfuyRRJVTkTQqowLC36UPczpLROgHERTisKArB5P6y6VT4wLOs5TEIcl0MxCh2yHUqhoKerl_Vy6I2A3GmyLffkCilAyAzC8vcmeP7PuIoYbP_b1_2KnFW7hQhxP1zr9eXhmadZDaX1Qgga8k2bgPKZ-haBts2zwOqu0fZHtA/s800/stan-vanderbeek-visibles-coffret-dvd.jpg4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiKulaoRJ_nzdlZvoKEQUfuyRRJVTkTQqowLC36UPczpLROgHERTisKArB5P6y6VT4wLOs5TEIcl0MxCh2yHUqhoKerl_Vy6I2A3GmyLffkCilAyAzC8vcmeP7PuIoYbP_b1_2KnFW7hQhxP1zr9eXhmadZDaX1Qgga8k2bgPKZ-haBts2zwOqu0fZHtA/w400-h400/stan-vanderbeek-visibles-coffret-dvd.jpg4.jpg" width="400" /></a></div></span></span></div><p><span style="font-family: verdana; font-size: medium;"> </span></p><p><span style="font-family: verdana; font-size: medium;">Cela fait partie de la nature intéressante de l’art qu’à ce même
moment au carrefour de l’art, avec la perfection d’un moyen de capturer
exac- tement la perspective et le «réalisme», le regard de l’artiste se
tourne davantage vers son intérieur, et en quelque sorte vers un
extérieur infi- ni, abandonnant la logique de l’esthétique et
jaillissant à plein régime dans un monde juxtaposé et simultané qui
ignore l’esprit de perspec- tive unique et l’objectif de perspective
unique. <br />-Stan Vanderbeek, American Scholar Vol.35 1966</span></p><p><span style="font-family: verdana; font-size: medium;"> </span></p><p><span style="font-family: verdana; font-size: medium;"> </span><span style="font-size: medium;"><span style="font-family: verdana; text-decoration: underline;">FILMS<i><br /></i></span><span style="font-family: verdana;">Astral Man (2’) 1959<br />Mankinda (8’)1957<br />What Who How (7’) 1957<br />Wheeeels No. 1 (7’) 1958<br />Wheeeels No. 2 (5’) 1958<br />Dance of the Looney Spoons (5’) 1959<br />Black And White, Day and Night (5’) 1962<br />Skullduggery (5’) 1960<br />The Human Face is a Monument (9’) 1965<br />The Smiling Workman (6’) 1967<br />The Birth of the American Flag (14’) 1965</span></span></p><p><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="281" src="https://www.youtube.com/embed/DEKWMWxcO7w" width="382" youtube-src-id="DEKWMWxcO7w"></iframe></span></div><span style="font-size: medium;"><br /></span><h4><span style="font-family: verdana; font-size: medium;"><b> </b></span></h4><h4><span style="font-family: verdana; font-size: medium;"><b> </b></span></h4><h4><span style="font-family: verdana; font-size: medium;"><b>COMPUTER GENERATION</b></span></h4><h4><span style="font-family: verdana; font-size: medium;"><b> </b></span></h4><div><span style="font-family: verdana; font-size: medium;"> </span><span style="font-size: medium;"><span style="font-family: verdana;">Le troisième volume de notre collection DVD des films de Stan Vanderbeek avec 11 films</span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;">Disponible à la commande ici :<a href="https://re-voir.com/shop/en/stan-vanderbeek/1477-stan-vanderbeek-computer-generation.html">https://re-voir.com/shop/en/stan-vanderbeek/1477-stan-vanderbeek-computer-generation.html</a></span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;"> <br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW81PzqTOggCHPwdDcwXbTNFRMYqsYBI50ExVaMaWf2KzRxrymH7viQvhe-VpMr0XkqlgnAGRod_RyIidS40R4avdDLakQ6A53nDeou_PYBjqddwCupASuxWlXcRHOfgHWNxuUUor2qn6ctZVyoDaypWFszNilIXdykloS3OAjjFrcBgcAEwi75hlCbhw/s800/stan-vanderbeek-visibles-coffret-dvd.jpg5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW81PzqTOggCHPwdDcwXbTNFRMYqsYBI50ExVaMaWf2KzRxrymH7viQvhe-VpMr0XkqlgnAGRod_RyIidS40R4avdDLakQ6A53nDeou_PYBjqddwCupASuxWlXcRHOfgHWNxuUUor2qn6ctZVyoDaypWFszNilIXdykloS3OAjjFrcBgcAEwi75hlCbhw/w400-h400/stan-vanderbeek-visibles-coffret-dvd.jpg5.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoFiBRpsO3THD3p1-9kb1n28qNlYuHH9WcmAEHEcBrVIaurenEF4_yq7QaH19QRJ5NZyk8ktOk15u1vmA4tqLHaIWvjk66BN8Uflsshnch_y1DbUnQ-vZ_JDkSem-0pfGvLQprCp86XIfxfHg4eC-TN_u_3KyI-u-i5iakCru-2oILAhwjA9tTVrzFPfQ/s800/stan-vanderbeek-visibles-coffret-dvd.jpg6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoFiBRpsO3THD3p1-9kb1n28qNlYuHH9WcmAEHEcBrVIaurenEF4_yq7QaH19QRJ5NZyk8ktOk15u1vmA4tqLHaIWvjk66BN8Uflsshnch_y1DbUnQ-vZ_JDkSem-0pfGvLQprCp86XIfxfHg4eC-TN_u_3KyI-u-i5iakCru-2oILAhwjA9tTVrzFPfQ/w400-h400/stan-vanderbeek-visibles-coffret-dvd.jpg6.jpg" width="400" /></a></div> </span></span></div><p><span style="font-family: verdana; font-size: medium;">Cela fait partie de la nature intéressante de l’art qu’à ce même
moment au carrefour de l’art, avec la perfection d’un moyen de capturer
exac- tement la perspective et le «réalisme», le regard de l’artiste se
tourne davantage vers son intérieur, et en quelque sorte vers un
extérieur infi- ni, abandonnant la logique de l’esthétique et
jaillissant à plein régime dans un monde juxtaposé et simultané qui
ignore l’esprit de perspec- tive unique et l’objectif de perspective
unique. <br />-Stan Vanderbeek, American Scholar Vol.35 1966 </span></p><p><span style="font-family: verdana; font-size: medium;"> </span></p><p><span style="font-size: medium;"><span style="font-family: verdana; text-decoration: underline;">FILMS<i><br /></i></span><span style="font-family: verdana;">Astral Man (2’) 1959<br />Mankinda (8’)1957<br />What Who How (7’) 1957<br />Wheeeels No. 1 (7’) 1958<br />Wheeeels No. 2 (5’) 1958<br />Dance of the Looney Spoons (5’) 1959<br />Black And White, Day and Night (5’) 1962<br />Skullduggery (5’) 1960<br />The Human Face is a Monument (9’) 1965<br />The Smiling Workman (6’) 1967<br />The Birth of the American Flag (14’) 1965 <br /></span></span></p></div></div></div></div><div style="text-align: center;"><p><span style="font-size: medium;"><span style="font-family: verdana;"> <br /></span></span></p></div><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="280" src="https://www.youtube.com/embed/WGdxqtT-zTs" width="380" youtube-src-id="WGdxqtT-zTs"></iframe></span></div><span style="font-size: medium;"><br /> </span><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><p style="text-align: left;"><span style="font-size: small;"><span style="font-family: verdana;"><u>ENGLISH</u></span></span></p><p style="text-align: left;"><span style="font-size: small;"><span style="font-family: verdana;"><br /></span></span></p><p style="text-align: left;"><br /><span style="font-size: small;"><span style="font-family: verdana;"><span style="font-size: medium;"><span style="font-family: verdana;">New
Stan Vanderbeek editions: 3 collections of his short film words,
available seperately or all together in a box set. Over 5 hours of film
in all. All from new scan. </span></span></span></span></p><p style="text-align: left;"><span style="font-size: small;"><span style="font-family: verdana;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> Stan Vanderbeek's DVD collection will be officially released in March 2023.</span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span><br /></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDiTcFa-hbAb4edronVv6eTD_K2XM4m9X_Zw3Osms9xbUrHBiyJbCJCnVIY363OuliNyU0ppkU3atopXP6dmE25ctGELCslSHmXTcAacpaeIniTLw3LZGc3zCSLhKptIC5ipxHATHS15UrxpzLJa9BTVGoNUEQdT3X_gOk13kWAUhm8cd2rVn4l4C1sl0/s800/stan-vanderbeek-visibles-dvd-boxset.jpg0.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDiTcFa-hbAb4edronVv6eTD_K2XM4m9X_Zw3Osms9xbUrHBiyJbCJCnVIY363OuliNyU0ppkU3atopXP6dmE25ctGELCslSHmXTcAacpaeIniTLw3LZGc3zCSLhKptIC5ipxHATHS15UrxpzLJa9BTVGoNUEQdT3X_gOk13kWAUhm8cd2rVn4l4C1sl0/w400-h400/stan-vanderbeek-visibles-dvd-boxset.jpg0.jpg" width="400" /></a></span></div><span style="font-size: medium;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4gij3TaMPRB5d1gjz-VweiXj6iSP2GqtnvmNZ2bgns4HpD8r92YAyplSyqPuFoRT2ITJhxfLNdWBAlnEgr9QZn4wXBXOmaAaqWhdVAE4_hn-lI8pkqG7K2MXTnpxlNFovm_RbRYA-J5nZiiUbOt9y6yqII-fnc3WXJV8l4P3HGSPjJhRQnj0u8TTjm9Y/s800/stan-vanderbeek-visibles-coffret-dvd.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4gij3TaMPRB5d1gjz-VweiXj6iSP2GqtnvmNZ2bgns4HpD8r92YAyplSyqPuFoRT2ITJhxfLNdWBAlnEgr9QZn4wXBXOmaAaqWhdVAE4_hn-lI8pkqG7K2MXTnpxlNFovm_RbRYA-J5nZiiUbOt9y6yqII-fnc3WXJV8l4P3HGSPjJhRQnj0u8TTjm9Y/w400-h400/stan-vanderbeek-visibles-coffret-dvd.jpg" width="400" /></a></div><p style="text-align: left;"></p><p style="text-align: center;"><span style="font-family: verdana;"><span style="font-size: medium;"> </span></span></p><p style="text-align: center;"><span style="font-family: verdana;"><span style="font-size: medium;">A 3 DVD boxset with 31 films by Stan Vanderbeek </span></span><br /></p><p style="text-align: center;"><span style="font-family: verdana;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: verdana;">Available for order here: <a href="https://re-voir.com/shop/en/stan-vanderbeek/1480-stan-vanderbeek-visibles-dvd-boxset.html">https://re-voir.com/shop/en/stan-vanderbeek/1480-stan-vanderbeek-visibles-dvd-boxset.html</a></span></span></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><h4 style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><b>VISIBLE 1 </b></span></span></h4><h4 style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><b><br /></b></span></span></h4><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;">The first volume of our DVD collection of Stan Vanderbeek's films with 9 films <br /></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><span style="font-size: medium;"><span style="font-family: verdana;">Available for order here: <a href="https://re-voir.com/shop/en/stan-vanderbeek/1475-stan-vanderbeek-visibles-1.html">https://re-voir.com/shop/en/stan-vanderbeek/1475-stan-vanderbeek-visibles-1.html</a></span></span><br /></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx4BU89jsNiKD4c3_unu7Gazaokmk-yw3fer34bv5CAuiLsgSAXhNfrcZWlenvdiBAVC14SOpdqf_mZtLy__9ZREUcqiyqBlhXyBwbeKJVMVPJTEknsDuLXr1MRuXV4GbBaunjOeeOg333o5mt2v02xp3Pu7fE4cflMCQixxcqlqkoxJJ7TDRjiftUIFg/s800/stan-vanderbeek-visibles-coffret-dvd.jpg1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx4BU89jsNiKD4c3_unu7Gazaokmk-yw3fer34bv5CAuiLsgSAXhNfrcZWlenvdiBAVC14SOpdqf_mZtLy__9ZREUcqiyqBlhXyBwbeKJVMVPJTEknsDuLXr1MRuXV4GbBaunjOeeOg333o5mt2v02xp3Pu7fE4cflMCQixxcqlqkoxJJ7TDRjiftUIFg/s320/stan-vanderbeek-visibles-coffret-dvd.jpg1.jpg" width="320" /></a></span></div><span style="font-size: medium;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFvfyzhoH40TEA3_4jx30UHA_pQn50x5qHT858XNrRNFiAkbkM5n2GvvnVQn0BHfMgNaUEIs90xmiuAo2fl3NyaTGKBKlJL5f2XMKMzdL1rIT3ztbPorsYBKqR-m3WSLIbd2Ls4wtHNPjjAqFovKibpfQrbBnnvHNExAVbVJGJW4z4ao7j79e-wZ8eWSY/s800/stan-vanderbeek-visibles-coffret-dvd.jpg2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFvfyzhoH40TEA3_4jx30UHA_pQn50x5qHT858XNrRNFiAkbkM5n2GvvnVQn0BHfMgNaUEIs90xmiuAo2fl3NyaTGKBKlJL5f2XMKMzdL1rIT3ztbPorsYBKqR-m3WSLIbd2Ls4wtHNPjjAqFovKibpfQrbBnnvHNExAVbVJGJW4z4ao7j79e-wZ8eWSY/w357-h357/stan-vanderbeek-visibles-coffret-dvd.jpg2.jpg" width="357" /></a></div><br /><br /></span><p style="text-align: left;"></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;">Surrealistic transformation of a footbridge into an eye that opens to a
path that leads to a glowing flower that becomes a body that becomes a
landscape, have the effect, in Vanderbeek’s words, of an “experiment in
animation in which the eye of the viewer travels deeper and deeper into
each scene, finding new relationships and visual metaphors in what
appears, at first sight, a simple scene... Juxtaposed with what we see
is what we think we saw... The memory of the dream is as real as the
dream itself, but it is completely different from the dream."<br />-Janet Vrchota, <i>Print</i> 1973 </span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><br /><span style="text-decoration: underline;">FILMS<i><br /></i></span><i>Science Friction</i> (10’) 1959<br /><i>A La Mode</i> (6’) 1959<br /><i>Achooo Mr. Kerrooschev</i> (2') 1960<br /><i>Breathdeath</i> (14’) 1963<br /><i>See Saw Seams</i> (9’)<br /><i>Panels for the Walls of the World</i> (8’) 1967 <br /><i>Poemfield #2</i> (6’) 1966<br /><i>Oh</i> (9’) 1968<br /><i>Symmetricks</i> (6’) 1972 <br /><br /><span style="text-decoration: underline;">BONUS</span><br /><i>Vanderbeekiana!</i> (29’) 1968</span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/gV2ChaGUu54" width="320" youtube-src-id="gV2ChaGUu54"></iframe></span></div><p style="text-align: left;"></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></p><h4 style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><b>VISIBLE 2</b></span></span></h4><h4 style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><b> </b></span></span></h4><div style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; font-weight: normal;">The second volume of our DVD collection of Stan Vanderbeek's films with 11 films</span></span></div><div style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; font-weight: normal;"> </span></span></div><div style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; font-weight: normal;">Available for order here :<a href="https://re-voir.com/shop/en/stan-vanderbeek/1476-stan-vanderbeek-visibles-2.html">https://re-voir.com/shop/en/stan-vanderbeek/1476-stan-vanderbeek-visibles-2.html</a> </span></span></div><div style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; font-weight: normal;"> </span><span style="font-family: verdana;"> </span></span></div><div style="text-align: center;"><span style="font-family: verdana; font-size: medium;"><b><br /></b></span></div><div style="text-align: center;"><span style="font-family: verdana; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVIYXdp9KENgnvSp8TFb_OlxTsJfFBt30qS0n6d6Ku7BFJlGzf5F3gaM8ccLp8kNIC5MDkmbKL_VWKQi5UVn3kfIjsCdLdfXsbby3jpmEYSoOLbBhI4qbedGixplDZ6CW3ooRlBpVwyEuoVeUH4W5SO4PUD98Fdm_Df9UPNcE-nvM-fx60hHw0O3HCizE/s800/stan-vanderbeek-visibles-coffret-dvd.jpg3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVIYXdp9KENgnvSp8TFb_OlxTsJfFBt30qS0n6d6Ku7BFJlGzf5F3gaM8ccLp8kNIC5MDkmbKL_VWKQi5UVn3kfIjsCdLdfXsbby3jpmEYSoOLbBhI4qbedGixplDZ6CW3ooRlBpVwyEuoVeUH4W5SO4PUD98Fdm_Df9UPNcE-nvM-fx60hHw0O3HCizE/w320-h320/stan-vanderbeek-visibles-coffret-dvd.jpg3.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisWSgIymsG8Iu01yob44pwbg3RxZVnCjS-ZsxHG-9AHVk4vrdXD2na43ljg8Zj7fyNtLL27Z03K7MHjYTkHza1AzCiGpqCKc8Wqtu1ML_LKIPLSGjflDINTlGtT4xYPwZIWIclOCxim-RJ6KebRXtrZQhDRVaOEGP0-mn0kPTb2Onz8k85CU7MjwKYJtU/s800/stan-vanderbeek-visibles-coffret-dvd.jpg4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisWSgIymsG8Iu01yob44pwbg3RxZVnCjS-ZsxHG-9AHVk4vrdXD2na43ljg8Zj7fyNtLL27Z03K7MHjYTkHza1AzCiGpqCKc8Wqtu1ML_LKIPLSGjflDINTlGtT4xYPwZIWIclOCxim-RJ6KebRXtrZQhDRVaOEGP0-mn0kPTb2Onz8k85CU7MjwKYJtU/w353-h353/stan-vanderbeek-visibles-coffret-dvd.jpg4.jpg" width="353" /></a></div><b><br /></b></span></div><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;">It is part of the interesting nature of art that at this same juncture
in the crossroads of art, with the perfection of a means to capture
exactly perspective and “realism,” the artist’s vision is turning more
to his interior, and in a sense to an infinite exterior, abandoning the
logic of aesthetics and springing full-blown into a juxtaposed and
simultaneous world that ignores the one-point-perspective mind and the
one-point-perspective lens.<br />-Stan Vanderbeek, American Scholar Vol.35 1966</span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; text-decoration: underline;">FILMS<i><br /></i></span><span style="font-family: verdana;">Astral Man (2’) 1959<br />Mankinda (8’)1957<br />What Who How (7’) 1957<br />Wheeeels No. 1 (7’) 1958<br />Wheeeels No. 2 (5’) 1958<br />Dance of the Looney Spoons (5’) 1959<br />Black And White, Day and Night (5’) 1962<br />Skullduggery (5’) 1960<br />The Human Face is a Monument (9’) 1965<br />The Smiling Workman (6’) 1967<br />The Birth of the American Flag (14’) 1965</span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span> </p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/DEKWMWxcO7w" width="320" youtube-src-id="DEKWMWxcO7w"></iframe></span></div><span style="font-size: medium;"><br /><span style="font-family: verdana;"></span></span><p style="text-align: left;"></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></p><h4 style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><b>COMPUTER GENERATION</b></span></span></h4><h4 style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><b> </b></span></span></h4><div style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; font-weight: normal;">The third volume of our DVD collection of Stan Vanderbeek's films with 11 films</span></span></div><div style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; font-weight: normal;"> </span></span></div><div style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; font-weight: normal;">Available for order here: <a href="https://re-voir.com/shop/en/stan-vanderbeek/1477-stan-vanderbeek-computer-generation.html">https://re-voir.com/shop/en/stan-vanderbeek/1477-stan-vanderbeek-computer-generation.html</a> </span><span style="font-family: verdana;"> </span></span></div><div style="text-align: center;"><span style="font-family: verdana; font-size: medium;"><b><br /></b></span></div><div style="text-align: center;"><span style="font-family: verdana; font-size: medium;"><b><br /></b></span></div><div style="text-align: center;"><span style="font-family: verdana; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiybWMGvYU0CfVfXU7uTT5SOel0R_hRhi5JqTuPYGYFYxVnDLArb42q39QskwFQwi-1N1b8t_l9QdRq0jYeKR-k63JMM5P0zZv69L0yf8Uw4uwSvEdvDoubjUsEADpSp7JuK-_9HmzJ-sgZogp5zTyyzByvrEmewEBrRODuZ6u_BXNu3MOhf_42DXesf7Q/s800/stan-vanderbeek-visibles-coffret-dvd.jpg5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiybWMGvYU0CfVfXU7uTT5SOel0R_hRhi5JqTuPYGYFYxVnDLArb42q39QskwFQwi-1N1b8t_l9QdRq0jYeKR-k63JMM5P0zZv69L0yf8Uw4uwSvEdvDoubjUsEADpSp7JuK-_9HmzJ-sgZogp5zTyyzByvrEmewEBrRODuZ6u_BXNu3MOhf_42DXesf7Q/s320/stan-vanderbeek-visibles-coffret-dvd.jpg5.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzz87cuiGpJJa0f4JhLDznLuzgBlG-CgYqubaskve43BRlmTqiUVA31DYoZX8xiTm50VbtP1XOIwQ7K87XXycXZjZR35lYeFvdcvx0glkeNzei3mOz6JBU0bWeQACA4uNer2hNPkLAq1X4VERyT-1PszRC_gp0q1iS3triWVtlc4iKDwHx1J94nTL4WcQ/s800/stan-vanderbeek-visibles-coffret-dvd.jpg6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzz87cuiGpJJa0f4JhLDznLuzgBlG-CgYqubaskve43BRlmTqiUVA31DYoZX8xiTm50VbtP1XOIwQ7K87XXycXZjZR35lYeFvdcvx0glkeNzei3mOz6JBU0bWeQACA4uNer2hNPkLAq1X4VERyT-1PszRC_gp0q1iS3triWVtlc4iKDwHx1J94nTL4WcQ/w345-h345/stan-vanderbeek-visibles-coffret-dvd.jpg6.jpg" width="345" /></a></div><b><br /></b></span></div><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;">We’re just fooling around on the outer edges of our own sensibilities.
The new technologies will open higher levels of psychic communication
and neurological referencing.” For the last five years Stan VanDerBeek
has been working simultaneously with live-action and animated films,
single and multiple-projection formats, intermedia events, video
experiments, and computer graphics. Clearly a Renaissance Man,
VanDerBeek has been a vital force in the convergence of art and
technology, displaying a visionary’s insight into the cultural and
psychological implications of the Paleocybernetic Age.<br />-Gene Youngblood, Expanded Cinema 1970</span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana; text-decoration: underline;">FILMS</span><span style="font-family: verdana;"><br />Poemfield #1 (5’) 1967 <br />Poemfield #2 (6’) 1966-1971<br />Poemfield #3 (10’) 1967 <br />Poemfield #5 (7’) 1967 <br />Poemfield #7 (4’) 1967 <br /> Moirage(8’) 1967<br />Who Ho Ray #1 (8’) 1966-1972<br />Who Ho Ray 2-screen Composite (8’) 1966-1972<br />Ad Infinitum (10’) 1968<br />Ad Infinitum 3-screen Composite (10’) 1968<br />Euclidean Illusions (9’) 198</span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span><span style="font-family: verdana;"><br /><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/WGdxqtT-zTs" width="320" youtube-src-id="WGdxqtT-zTs"></iframe></span></div><span style="font-size: medium;"><br /> </span><p style="text-align: left;"></p><br />revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-6076708985927404612023-01-30T04:52:00.008-08:002023-01-30T04:52:40.598-08:00DVD release DOUBLE LABYRINTHE - Maria Klonaris and Katerina Thomadaki<p> We are happy to announce the release of our second title from the filmmaking duo Maria Klonaris and Katerina Thomadaki. DOUBLE LABYRINTH is a Digipack DVD with 5 films by Maria Klonaris et Katerina Thomadaki, which includes a 60 page booklet on the work of these two artists.<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9uEuKa5cCOUGp2wWklyMml7yjlIXLdcV0nPGMCZ8EhsO1U3UC2S8CHJEd_IYWIEpskkLVKESsQYghgiKNRIhKP7vuPQmLKjcBHB9hMCimgEF_v9TNsVQL00aRa2fwbWSvF0WlivONWRNxrK1lu1F24IFMza8m6rOLaOWknuD-s6pbOTUgxV_xapN_/s1339/Double-Labyrinthe-cover-FRONT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1339" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9uEuKa5cCOUGp2wWklyMml7yjlIXLdcV0nPGMCZ8EhsO1U3UC2S8CHJEd_IYWIEpskkLVKESsQYghgiKNRIhKP7vuPQmLKjcBHB9hMCimgEF_v9TNsVQL00aRa2fwbWSvF0WlivONWRNxrK1lu1F24IFMza8m6rOLaOWknuD-s6pbOTUgxV_xapN_/s320/Double-Labyrinthe-cover-FRONT.jpg" width="239" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: black; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="968" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJQu4QgmEVQrMD-cuzJ7OKOy_tTEoILx610Q5Aiekzn2iG3nUMf9cKIiqXolsh0B9LZHaI5JodXb0jSlYVONZxVfTmiEbsZ4kyvGHtOXfvxm-3_0GPR42wmi69zM4V2skxPrf3MKbG2W8f3TMeSQlgzSs8hUf1bEqYs_40ju1eIUg4vD1HmICYjNFV/s320/Double-Labyrinthe-cover-back.jpg" width="242" /><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: black;"></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: black;"></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: black;"></span></div><div class="separator" style="clear: both; text-align: center;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs xlh3980 xvmahel x1n0sxbx x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto">The release will be accompanied by a screening at Cinéma L'Archipel in Paris in the presence of Pip Chodorov, director of Re:Voir and Katerina Thomadaki who will be signing copies of this release and will be taking questions from the audience.<br /><br /></span><div>A few quotes on these works : </div><div><br />Although consciously placed at the intersection of two great
traditions, that of the ritual filmmakers (S. M. Eisenstein, Maya Deren,
Kenneth Anger...) and that, less abundant, of the women filmmakers and
visual artists (Germaine Dulac, Maya Deren again, Carolee
Schneemann...), the work of Maria Klonaris and Katerina Thomadaki is
unlike any other. Completely driven by a study of the body’s
representation, it has devised brilliant aesthetic means and produced
numerous theoretical tools to visually express their critical and
affirmative philosophy.<br />-Nicole Brenez<br /><br />These two artists, these two women, produced the concept of ‘a double author’, which is, to my knowledge, unique. [...] <strong><em>Double Labyrinth</em></strong>
as the crucible and first instance of their work together provides a
beautiful figuration of how the politics of method, the creative double,
inflected the poetics of its imagery, the women’s bodies and their
expressivity.<br />-Laura Mulvey<br /><br />In their films they tackle the
question of the femininity of images and of women in images, a major
question when you consider the role of women in the history of images or
in the history of painting. However, for them, what is at stake is not
building femininity in opposition to masculinity or virility, but
discovering the pure otherness at the core of what is feminine.
Beginning with what are considered feminist themes, they end up with a
broader theme, which is strictly and radically political and which is
the question of the Other.<br />-Marie José Mondzain<br /><br /><strong><em>Double Labyrinthe</em></strong>’s
minimal yet complex aesthetics launched Klonaris/Thomadaki’s “Cinéma
corporel.” The impact of the film on the experimental film scenes of the
time, both in Paris and London, was such, that it actually helped to
transform them. Its “radical femininity” trail blazed new dimensions in
feminist film practice and theory, which to this day appear as
innovative as in 1976. This landmark film holds a singular place next to
such gems as <em><strong>Meshes of the Afternoon</strong></em>,<em><strong> Fuses </strong></em>or<strong> </strong><em><strong>Jeanne Dielman</strong>.</em><br />-Cécile Alex Chich<br /><span style="text-decoration: underline;"><br /></span></div>
<span style="text-decoration: underline;">FILMS</span><br />DOUBLE LABYRINTHE, 1975-1976, 50mins<br />LA TORTURE, 1976/2012, 15mins<br />FLASH PASSION, 1970, 2mins<br />3.VIl. 1973, 1971, 6mins<br />SMOKING, 1976/2016, 4mins<br /><br /><br /><span class="x193iq5w xeuugli x13faqbe x1vvkbs xlh3980 xvmahel x1n0sxbx x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"></span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Hqc01hGSqnY" width="320" youtube-src-id="Hqc01hGSqnY"></iframe></div><br />revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-27157981141673238782022-12-19T06:15:00.001-08:002022-12-19T06:15:09.031-08:00Blu-Ray/DVD combo release of Philippe Garrel's film 1985 "Elle a passé tant d'heures sous les sunlights... "<p align="JUSTIFY" style="margin-bottom: 0.08in;"><span style="font-family: Times, serif;"><i></i></span></p><p align="JUSTIFY" style="margin-bottom: 0.08in;"><span style="font-family: Times, serif;"><i></i></span></p><p align="JUSTIFY" style="margin-bottom: 0.08in;"><span style="font-family: Times, serif;"><i></i></span></p><p align="JUSTIFY" style="margin-bottom: 0.08in;"><span style="font-family: Times, serif;"><i></i></span></p><p align="JUSTIFY" style="margin-bottom: 0.08in;"><span style="font-family: Times, serif;"><i></i></span></p><p align="JUSTIFY" style="margin-bottom: 0.08in;"><span style="font-family: Times, serif;">We are happy to announce the release of our Blu-Ray/DVD combo </span><span style="font-family: Times, serif;"><i>Elle a passé tant d'heures sous les sunlights... </i>by
Philippe Garrel. Available for order here : <a href="https://bit.ly/3PERuoD">https://bit.ly/3PERuoD</a></span></p><p align="JUSTIFY" style="margin-bottom: 0.08in;"><span style="font-family: Times, serif;">Below is a brief analysis of the film by our colleague Ana Catarina F. Araújo.</span><br /><span style="font-family: Times, serif;"><b><br />ENGLISH VERSION ( version français en bas)</b><i><br />Elle a passé tant d'heures sous les sunlights... </i>by
Philippe Garrel, presents the perfect construction for conveying
something that stems from subjectivity. It seems to be, before anything
else, a film about the filmmaker's most intimate questions at that point
in time (1985). The picture seemingly alternates between on the one
hand Garrel's personal life, and on the other his chosen medium.
Therefore, there is something quite material – in the Marxist sense of
the word – that merges with the empirical. This fusion pierces the
screen not only through the extremely complex narrative but also, and at
the same level, through the aesthetic choices.</span></p><p align="JUSTIFY" lang="en-US" style="margin-bottom: 0in;"></p><p style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwgg36pIopRujfiMwnknv1Mbl1NmbIPbTci_pemQZnwyU6GEtmobE-B7_yJGYPPXYhZCQBUuie6PBXmKLJ_iYHUPooT7NX-0lIVUfSgW1uWQX_168WvyVbAog6tjvd0cdhf-xjaQBsyQ9mnphwD1HvQVqZ8_gkYIhf0RDkZxRPAYhRiB7tOla5nyqI/s1800/Sous-les-sunlights-stills6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1800" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwgg36pIopRujfiMwnknv1Mbl1NmbIPbTci_pemQZnwyU6GEtmobE-B7_yJGYPPXYhZCQBUuie6PBXmKLJ_iYHUPooT7NX-0lIVUfSgW1uWQX_168WvyVbAog6tjvd0cdhf-xjaQBsyQ9mnphwD1HvQVqZ8_gkYIhf0RDkZxRPAYhRiB7tOla5nyqI/s320/Sous-les-sunlights-stills6.jpg" width="320" /></a></p><span style="font-family: times; text-align: left;"><p align="JUSTIFY" style="margin-bottom: 0.08in;"><span style="font-family: Times, serif;">In <i>Elle a passé...</i>
we meet the characters of Christa (Anne Wiazemsky), Jacques (Jacques
Bonnaffé), Marie (Mireille Perrier) and Gracq (Lou Castel). We also
follow Philippe Garrel; we also observe and listen to Chantal Ackerman
as well as Jacques Doillon. One understands quickly that this is in fact
a film (or more) within a film, navigating across several cinematic
genres at the same time as it refers to several periods of film history
(in a very <i>Garrelian</i> fashion). Finally, it is a film that cannot seem to avoid carrying a <span style="font-size: small;">certain </span>social critique and activism.</span></p><p align="JUSTIFY" style="margin-bottom: 0.08in;"><span lang="en-US" style="font-family: Times, serif; text-align: left;">In the first fifteen minutes, a game of doubles is </span><span style="font-family: Times, serif; text-align: left;">presented</span><span lang="en-US" style="font-family: Times, serif; text-align: left;">: Christa (a double for Nico whose birth name was Christa P</span><span style="font-family: Times, serif; text-align: left;">ä</span><span lang="en-US" style="font-family: Times, serif; text-align: left;">ffgen,
Garrel's ex-lover in real life) becomes Jacques' ex-lover (in all
likelihood Garrel's double in the film). Jacques will then become the
lover of Marie </span><span style="font-family: Times, serif; text-align: left;">who</span><span lang="en-US" style="font-family: Times, serif; text-align: left;">
will give birth to his son (possibly referring to Louis, Garrel's son
with Brigitte Sy, the film's co-writer). Still in these first fifteen
minutes, a </span><span style="font-family: Times, serif; text-align: left;">mise en abyme</span><span lang="en-US" style="font-family: Times, serif; text-align: left;"> is made </span><span style="font-family: Times, serif; text-align: left;">evident</span><span lang="en-US" style="font-family: Times, serif; text-align: left;">: </span><span style="font-family: Times, serif; text-align: left;">after the</span><span lang="en-US" style="font-family: Times, serif; text-align: left;"> title card </span><span style="font-family: Times, serif; text-align: left;">"</span><span lang="en-US" style="font-family: Times, serif; text-align: left;">Les Minist</span><span lang="fr-FR" style="font-family: Times, serif; text-align: left;">è</span><span style="font-family: Times, serif; text-align: left;">res de L'art</span><span style="font-family: Times, serif; font-size: small; text-align: left;">"</span><span style="font-family: Times, serif; text-align: left;"> we meet Marie </span><span style="font-family: Times, serif; font-size: small; text-align: left;">as we</span><span style="font-family: Times, serif; text-align: left;"> watch her face in a close-up shot, listening, as attentively as the spectator, to the voice of the director</span><span style="font-family: Times, serif; font-size: small; text-align: left;">.</span><span style="font-family: Times, serif; text-align: left;"> </span><span style="font-family: Times, serif; font-size: small; text-align: left;">He's </span><span style="font-family: Times, serif; text-align: left;">explaining how he used his love for Christa in order to please the audience</span><span style="font-family: Times, serif; font-size: small; text-align: left;">,</span><span style="font-family: Times, serif; text-align: left;">
but that their relationship can no longer exist because it is
detrimental to his art. In the minutes that follow, we witness Marie </span><span style="font-family: Times, serif; font-size: small; text-align: left;">sitting</span><span style="font-family: Times, serif; text-align: left;"> on her car waiting for Jacques. He arrives, they kiss and enter the car. Up </span><span style="font-family: Times, serif; font-size: small; text-align: left;">to</span><span style="font-family: Times, serif; text-align: left;">
here the spectator's questioning emanates from the doubling of the
characters as well as from the resulting blending of the real and
imaginary, yet it isn't until the moment when the image of the couple in
their car cuts to black, that another dimension is exposed. The
clapperboard authorizes here the beginning of another scene, this time
in medium shots, </span><span style="font-family: Times, serif; font-size: small; text-align: left;">one</span><span style="font-family: Times, serif; text-align: left;"> soon notices that the sequence is repeat</span><span style="font-family: Times, serif; font-size: small; text-align: left;">ing</span><span style="font-family: Times, serif; text-align: left;">, the film within the film thus making a brutal appearance.</span></p></span><p style="margin-bottom: 0in;"></p><p style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiqKMJxnJD1YHoqm4-O5kQRZF5smJ-LjoZNs9ct4urH-8uu7EYRAxkmqrhDoMAFZeKj3ZGEUiITW26v60WCN-AiVQlmVD1hMQgMjorfHnb3MOdmA51JZUSTO_gHMuraOP910vdhDoVGx91RRtz9c63JB5B4eRf7F1SxnZRwcKLkgNJsWTJp-yzisHb/s1800/Sous-les-sunlights-stills33.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1800" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiqKMJxnJD1YHoqm4-O5kQRZF5smJ-LjoZNs9ct4urH-8uu7EYRAxkmqrhDoMAFZeKj3ZGEUiITW26v60WCN-AiVQlmVD1hMQgMjorfHnb3MOdmA51JZUSTO_gHMuraOP910vdhDoVGx91RRtz9c63JB5B4eRf7F1SxnZRwcKLkgNJsWTJp-yzisHb/s320/Sous-les-sunlights-stills33.jpg" width="320" /></a></p><span style="font-family: times;"><div style="margin-bottom: 0in; text-align: left;"><p style="text-align: justify;"><span style="font-family: Times, serif; text-align: left;">Furthermore, </span><span style="font-family: Times, serif; font-size: small; text-align: left;">a documentary dimension joins this autobiographic discourse. This is in addition t</span><span style="font-family: Times, serif; text-align: left;">o Garrel playing in his </span><span style="font-family: Times, serif; font-size: small; text-align: left;">own </span><span style="font-family: Times, serif; text-align: left;">film</span><span style="font-family: Times, serif; font-size: small; text-align: left;">,</span><span style="font-family: Times, serif; text-align: left;"> in spite of the fact that Jacques is present</span><span style="font-family: Times, serif; font-size: small; text-align: left;">ed</span><span style="font-family: Times, serif; text-align: left;"> as his </span><span style="font-family: Times, serif; font-size: small; text-align: left;">fictional </span><span style="font-family: Times, serif; text-align: left;">double, to the </span><span style="font-family: Times, serif; font-size: small; text-align: left;">recurrent</span><span style="font-family: Times, serif; text-align: left;"> </span><i style="font-family: Times, serif; text-align: left;">mises en abyme</i><span style="font-family: Times, serif; text-align: left;"> that </span><span style="font-family: Times, serif; font-size: small; text-align: left;">grow</span><span style="font-family: Times, serif; text-align: left;"> increasingly complex </span><span style="font-family: Times, serif; font-size: small; text-align: left;">becoming</span><span style="font-family: Times, serif; text-align: left;"> almost fractal, and to the presence of out of frame elements and the extra-filmic space</span><span style="font-family: Times, serif; font-size: small; text-align: left;">, all of which</span><span style="font-family: Times, serif; text-align: left;"> unveil the self-reflexive dimension of the film</span><span style="font-family: Times, serif; font-size: small; text-align: left;">.</span></p><p align="JUSTIFY" style="margin-bottom: 0.08in;"><span style="font-family: Times, serif; font-size: small; text-align: left;">In addition, o</span><span style="font-family: Times, serif; font-size: small; text-align: left;">ne
hears reflections on the nature of cinema in each of the narrative
layers. The director asks himself questions regarding how much his life
feeds his work and vice-versa. He informs us about the difficulties in
the making of his film: having trouble finding ways to finance it, he
sees himself forced to sell heroine, or when all is ready to start
shooting but the film stock hasn't arrived. He goes as far as filming
documentary scenes with his peers Chantal Ackerman and Jacques Doillon.
It is essential to note that in a majority of these scenes, either in
voice-over or on screen, it is Garrel himself that expresses his
questioning (despite the existence of his double Jacques). Hence the
reflexivity of this work doesn't originate solely from his aesthetic
choices – visible clapperboards, the noises of the camera motor, visible
microphones, end of the roll flashes, directions given to the camera
operator, etc. – no, the subject (or subjects) brilliantly addressed
here by Garrel, seem to impose this very unique construction.</span></p><p style="text-align: justify;"></p><p></p></div></span><p style="text-align: left;"></p><p align="JUSTIFY" lang="en-US" style="margin-bottom: 0in;"></p><p style="clear: both; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1800" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdq_Tpk56HA0R6sxBrmjz5BtUJ2KjqeoCwxeYagCsipO-6L1phN56cOB_wZEvbYtdbbkn4oSOJHYRZZ-YSSIa7B34eSVrRp2s07l1Jh6_G6LnLdkUyhKyBP70uF5jsaj9_Dg7cQF1-KYw0KPkDWJ8rEW9ua3LXwIcnjqRORscWm_fLZjAdkA-HVMah/w305-h183/Sous-les-sunlights-stills31.jpg" width="305" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTgOveRprc38MPM1iZHetiY0FHbG9wYfoSEe3q3A72CKnm8MmMhsQweM9kMJidaBwSz96wQPg3roj1bC6vC-BryqSMKeHbTAL1BcPI2mfrEgTHePCcH69GLAW7VPhPLq8Cg1edR4a2R8ltkBD9r3JKIG7vZkBNAPGLgJEFke0fq0iSSeuG1oo6a0yI/s1800/Sous-les-sunlights-stills8.jpg" style="clear: right; display: inline; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1800" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTgOveRprc38MPM1iZHetiY0FHbG9wYfoSEe3q3A72CKnm8MmMhsQweM9kMJidaBwSz96wQPg3roj1bC6vC-BryqSMKeHbTAL1BcPI2mfrEgTHePCcH69GLAW7VPhPLq8Cg1edR4a2R8ltkBD9r3JKIG7vZkBNAPGLgJEFke0fq0iSSeuG1oo6a0yI/w306-h184/Sous-les-sunlights-stills8.jpg" width="306" /></a></p><p></p><p align="JUSTIFY" style="margin-bottom: 0.08in;"><span style="font-family: Times, serif;"><span style="font-size: small;">Gracq
is the representative character for the antiestablishment spirit of the
Nouvelle Vague and May 68, he is the anarchist that is ready to make
use of violence in order to see true change, he is also the man for whom
Marie leaves Jacques. Gracq seems to be the personification of the
subversive and materialist side of this film, taking increasingly more
space as the story evolves, this is why what he represents will end up
overflowing his character. </span>A long silent scene <span style="font-size: small;">asserts</span> the critical side of the film when Jacques kisses Marie – <span style="font-size: small;">between the bed sheets</span> shared with <i>Capital: A Critique of Political Economy</i>, a reminder of Gracq and the materialist and critical dimensions that he represents – and <span style="font-size: small;">then </span>leaves. The scene doesn't stop here, the spectator stares at Marie, <span style="font-size: small;">lying</span> next to Marx<span style="font-size: small;">'s book</span>, until Garrel enters the frame and come<span style="font-size: small;">s to</span>
kiss Marie, taking the place of his double. Minutes later, Marie ends
up returning to Gracq and running away with this representative of the
socio-economic critique of the film. <span style="font-size: small;">T</span>his
critical dimension seems to pierce through each and every layer of this
composite creation that hovers between real and imaginary up until one
loses sight of the line that separates <span style="font-size: small;">them</span>.</span></p><p align="JUSTIFY" lang="en-US" style="margin-bottom: 0in;"></p><p style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMoybfp3z2ix0-mg4hfIejbYYmeuqT3c94QYzaYxM4Iokb3ANZ-Y6xvVxNk-6ZGkjzeubQZH5rLvD9mOXE1Z6deSx6vtYlCaXYPj2SMvBpaP13b47fIAxNB-bxNIHGFzbIi1S4N8zTvd13_EfMoWsrov2BeFVsxFCBUDJlg3TrvuJKlldwjpAIJaYI/s1800/Sous-les-sunlights-stills_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1800" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMoybfp3z2ix0-mg4hfIejbYYmeuqT3c94QYzaYxM4Iokb3ANZ-Y6xvVxNk-6ZGkjzeubQZH5rLvD9mOXE1Z6deSx6vtYlCaXYPj2SMvBpaP13b47fIAxNB-bxNIHGFzbIi1S4N8zTvd13_EfMoWsrov2BeFVsxFCBUDJlg3TrvuJKlldwjpAIJaYI/s320/Sous-les-sunlights-stills_1.jpg" width="320" /></a></p><p align="JUSTIFY" style="margin-bottom: 0.08in;"><span style="font-family: Times, serif;"><span style="font-size: small;"><i>Elle a passé tant d'heures sous les Sunlights... </i></span><span style="font-size: small;">is
a film that encompasses an artist and his art. From the process to the
result, Garrel gives us full access to his intimacy as well as to his
own subjectivity. This film feeds directly from works created by the
artist prior to 1985 and will then go on to nourish his subsequent
projects. </span><span style="font-size: small;"><i>Elle a passé...</i></span><span style="font-size: small;"> is a central work in the filmography of this prodigy of the french avant-garde.</span></span><span style="font-size: small; text-align: left;"><br /><span style="font-size: x-small;">-Ana Catarina F. Araújo</span></span></p><span style="font-family: times; text-align: left;"><p align="JUSTIFY" lang="en-US" style="font-size: medium; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/exCy8VoNyWM" width="320" youtube-src-id="exCy8VoNyWM"></iframe></div><br /><span style="font-size: small; text-align: left;"><br /></span><p></p></span><p style="text-align: center;"></p><p align="JUSTIFY" lang="fr-FR" style="margin-bottom: 0in;"><b>EN FRANÇAIS</b><br /><span style="font-family: times;"><i>Elle a passé tant d'heures sous les sunlights...</i> (1985), un film de Philippe Garrel, semble avoir la construction parfaite pour faire part de quelque chose de l'ordre du subjectif, il semble être avant tout un film sur des questionnements intimes de l'auteur à ce moment. Le film parait montrer la communication et le croisement constant entre, d'une part le vécu personnel de Garrel, et de l'autre son support de prédilection. Il y a donc quelque chose de très matériel – au sens Marxiste du terme – qui s'entremêle à quelque chose de l'ordre de l’empirique. Ce mélange de préoccupations transperce l’écran non seulement à travers la construction narrative extrêmement complexe mais également, et au même titre, à travers les choix esthétiques.</span></p><p align="JUSTIFY" lang="fr-FR" style="margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ifRonMZKzsYjuhhhED3y2QXzMRy6DHvykrTTFDlDqf1pPWDsd-G-BOs_rFiGzWlCH3JGIeODXSQ-yLdYa5Vnu8icJYvh-9uKXekF0xesCuUmgPwEMibdLH8WRtwnoTpl3_Jtrgvi-nUQn16kcF2nsf-UzyoueHtMGS-sNHxe5CJ3AggBhOzleg7J/s1800/Sous-les-sunlights-stills6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1800" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ifRonMZKzsYjuhhhED3y2QXzMRy6DHvykrTTFDlDqf1pPWDsd-G-BOs_rFiGzWlCH3JGIeODXSQ-yLdYa5Vnu8icJYvh-9uKXekF0xesCuUmgPwEMibdLH8WRtwnoTpl3_Jtrgvi-nUQn16kcF2nsf-UzyoueHtMGS-sNHxe5CJ3AggBhOzleg7J/s320/Sous-les-sunlights-stills6.jpg" width="320" /></a></div><p></p><p align="JUSTIFY" lang="fr-FR" style="margin-bottom: 0in;"><span style="font-family: times; text-align: left;">Dans </span><i style="font-family: times; text-align: left;">Elle a passé...</i><span style="font-family: times; text-align: left;"> nous rencontrons les personnages de Christa (Anne Wiazemsky), Jacques (Jacques Bonnaffé), Marie (Mireille Perrier) et Gracq (Lou Castel). Nous suivons également Philippe Garrel ; nous écoutons et observons aussi Chantal Ackerman ainsi que Jacques Doillon. Nous nous rendons compte assez vite que ce film est en effet deux, voir plus ; qu'il traverse les codes de plusieurs genres cinématographiques tout en faisant référence à plusieurs périodes de l'histoire du cinéma (de façon bien Garrelienne). Finalement, c'est un film qui ne peut pas s’empêcher d'être porteur d'une critique sociale et d'un certain militantisme.</span></p><p align="JUSTIFY" lang="fr-FR" style="margin-bottom: 0in;"></p><div style="text-align: justify;"><span style="font-family: times;">Dans les premières quinze minutes, un jeux de doubles est rendu visible : Christa (double de Nico – vraie nom Christa Paffgen – ex amante de Garrel dans la vraie vie), devient l'ex amante de Jacques (vraisemblablement le double de Garrel dans le film). Jacques deviendra par la suite l'amant de Marie qui accouchera d'un garçon (possiblement une référence à Louis, le fils de Garrel avec Brigitte Sy, co-scénariste du film en question). Toujours dans cette première quinzaine de minutes, une mise en abyme est dévoilée. En effet, suite à l'apparition du carton « Les Ministères de L'art » nous rencontrons Marie : son visage en gros plan écoute aussi attentivement que le spectateur la voix du réalisateur. Il explique qu'il utilisait son amour pour Christa afin de plaire au public, mais que cette relation ne peut plus exister car elle est nuisible à son art. Dans les minutes qui suivent, nous voyons Marie attendre Jacques assise sur sa voiture. Il arrive, ils s'embrassent et rentrent dans la voiture. Jusqu'ici le questionnement du spectateur émane du dédoublement des personnages ainsi que du mélange entre réel et imaginaire que cela engendre, or ce n'est qu'au moment où cette image du couple dans la voiture coupe au noir, qu'une autre dimension de est mise à nu. Le clap autorise à ce moment, le début d'une autre scène, cette fois-ci en plan taille, et le spectateur s’aperçoit assez vite que la scène se répète. Le film dans le film apparaît donc brutalement.</span></div><p></p><p align="JUSTIFY" lang="fr-FR" style="margin-bottom: 0in;"><span style="font-family: times; text-align: left;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp26yG2-IGLXvlDLPxbFt68esGorFLNzYKgmY4Wr4fGjY9jtw9hACaIHgUkpmoHraYhMCOIV-eUp3xkTDyFh7yfOQU9YIGe9rh6p9BQaPvRIgJ6dl_uv8jAjFNmGPwsOIhw5xkyTEA_BQ1ZcTobrE_esubatmKGDPwaomz72sMKI4e13Zx9dtSse3k/s1800/Sous-les-sunlights-stills33.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1800" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp26yG2-IGLXvlDLPxbFt68esGorFLNzYKgmY4Wr4fGjY9jtw9hACaIHgUkpmoHraYhMCOIV-eUp3xkTDyFh7yfOQU9YIGe9rh6p9BQaPvRIgJ6dl_uv8jAjFNmGPwsOIhw5xkyTEA_BQ1ZcTobrE_esubatmKGDPwaomz72sMKI4e13Zx9dtSse3k/s320/Sous-les-sunlights-stills33.jpg" width="320" /></a></div><p></p><p align="JUSTIFY" lang="fr-FR" style="margin-bottom: 0in;"><span style="font-family: times; text-align: left;">En outre, il existe une dimension documentaire en plus de ce discours autobiographique. Elle vient s'ajouter au fait que Garrel joue dans son propre film (malgré le fait que Jacques soit présenté comme étant son double fictionnel), mais aussi aux mises en abyme récurrentes qui deviennent de plus en plus complexes et presque fractales, et à la présence du hors-cadre et de l'espace extra-filmique. Tout ceci vient dévoiler la dimension auto-réflexive du film.</span></p><p align="JUSTIFY" lang="fr-FR" style="margin-bottom: 0in;"><span style="font-family: times; text-align: left;">On peut aussi noter qu'il existe une réflexion sur la nature du cinéma, et ceci dans chacune des couches narratives. Le réalisateur se pose des question sur combien sa vie nourri son cinema et vice-versa. Il nous fait part des difficultés rencontrées dans la fabrication de son film : ayant des difficultés pour trouver des moyens de financement, il se voit obligé de vendre de l’héroïne, où alors quand tout est prêt pour démarrer le tournage mais la pellicule n'est pas arrivée. Il va jusqu'à filmer des séquences documentaires avec ses camarades Chantal Ackerman et Jacques Doillon. Il est essentiel de noter que dans une grande partie de ces séquences, qu'elles soient en voix-off, ou bien avec le cinéaste dans le champ, c'est Garrel lui même qui incarne son questionnement (malgré l'existence de son double Jacques). Donc la réflexivité de cette œuvre ne provient pas que des choix esthétiques – l'apparition de claps, les bruitages du moteur de la caméra, la perche visible, les flashs de fin de bobine, les directions donnés directement au caméraman, etc. – non, le sujet (ou les sujets) traités ici brillamment par Garrel, semblent imposer cette construction unique.</span></p><p></p><p align="JUSTIFY" lang="fr-FR" style="margin-bottom: 0in;"><span style="font-family: times;"> <br /></span></p><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1800" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6wUtpuJSUq74PFfmib15loLAOWqb6fVH3Y_oey1zp-95XBVCaAeYjELqeaC30xn9_g1YavTT5YjeT-NXQWYPJUXTBD4LQoimZ5HChrb_74Y59ss8ws1IO809x7Q3-9AQmQ6WhPk0QmPSUUbPmBxhh4U_3wWTQvGoxapKKbQf6xWDfmyW0b7NusXGe/w291-h175/Sous-les-sunlights-stills31.jpg" width="291" /><span style="text-align: left;"> </span><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDqJh5m6qzLC7gPSmMdjsgx2TgzbrSYlrnqsXTWcGBARR4dXvMMFle4ADExMU2zKo0zOr7sZAAeLO8u_drZjt7bkjDbWa-H68iLl5DWRPaciX2Dq8MyULWDUH-LMcvykOJ_mOd85zqn2aEypAUPZ3RiLPrswiGTwt7S4-baFUyZpzx1l3LBD6qvBde/w292-h175/Sous-les-sunlights-stills8.jpg" style="text-align: left;" width="292" /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: times; text-align: left;"><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Gracq est le personnage représentatif de l'esprit contestataire de la Nouvelle Vague et de Mai 68, il est l'anarchiste qui est prêt à faire recours à la violence pour voir un réel changement, il est également l'homme pour qui Marie quitte Jacques. Gracq semble être la personnification du côté subversif et matérialiste de ce film, prenant plus de place au fur et à mesure de l'avancé de la diégèse, c'est pourquoi ce qu'il représente finit par transborder son personnage. Une longue scène muette vient cimenter le côté critique du film quand Jacques embrasse Marie – dans un lit partagé avec <i>Le Capital, </i>un rappel de Gracq et de la dimension matérialiste et critique qu'il représente – et s'en va. La scène ne s'arrête pas là, le spectateur regarde Marie, allongée aux côtés du livre de Marx, jusqu'à que l'on voit Garrel pénétrer dans le champ et venir embrasser Marie, prenant la place de son double. Quelques minutes plus tard, Marie termine par retourner vers Gracq, puis s'enfuit avec ce représentant de la critique socio-économique du film. Cette dimension critique semble traverser toutes les couches de cette création composite qui plane entre réel et imaginaire jusqu'à en perdre la ligne qui les sépare de vue.</div><div style="text-align: justify;"><br /></div></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim78ceY2mjfxUsAqOSUUcKv6InrpXkUmUcuqoBEN54ddjt9dmm_B_5kZ4qwsN5dj-9i6uiRRyiTPI_sk8IOz_7YtsOYUpITgNaAKhrwtwRoj_I5W8MxzE5Ku0l1dMs28a63j4haXAQOCaE0PUtdVrGl7iUJzvMrkUshB7_olj_OkOQNOAaGe-93SZq/s1800/Sous-les-sunlights-stills_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1800" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim78ceY2mjfxUsAqOSUUcKv6InrpXkUmUcuqoBEN54ddjt9dmm_B_5kZ4qwsN5dj-9i6uiRRyiTPI_sk8IOz_7YtsOYUpITgNaAKhrwtwRoj_I5W8MxzE5Ku0l1dMs28a63j4haXAQOCaE0PUtdVrGl7iUJzvMrkUshB7_olj_OkOQNOAaGe-93SZq/s320/Sous-les-sunlights-stills_1.jpg" width="320" /></a></div><p></p><p align="JUSTIFY" lang="en-US" style="margin-bottom: 0.08in;"><i style="font-family: times; text-align: left;">Elle a passé tant d'heures sous les Sunlights...</i><span style="font-family: times; text-align: left;"> est un film qui englobe un artiste et son art. Du processus jusqu'au résultat, Garrel nous donne accès à son intimité ainsi qu'à sa propre subjectivité. Ce film se nourrit directement des œuvres crées par le cinéaste avant 1985 et il alimentera par la suite les créations ultérieures de l'auteur. </span><i style="font-family: times; text-align: left;">Elle a passé...</i><span style="font-family: times; text-align: left;"> est une œuvre phare dans la filmographie de l'auteur prodige du cinéma d'avant garde français.<br />- <span style="font-size: x-small;">Ana Catarina F. Araújo</span></span><br /><br /><span style="font-family: times;">DISPONIBLE ICI : </span><span style="font-family: Times, serif;"><a href="https://bit.ly/3PERuoD">https://bit.ly/3PERuoD</a></span><br /><br /></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-63024139113051673692022-09-30T08:35:00.002-07:002022-12-07T03:52:12.610-08:00Marie Menken - sortie DVD Visual Variations - Version Française<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7zb_dbSvG7wuOwJ-BOGRMc89SIkPtADA_eAPJIGZpRCmkYgUZEoq1v17k2ZRTWsVr3HLQtdYgjvACfv0QK3N-usDd3WZjXIFjBqHU9n5_wh16XxWrQ43ka4g-KGNr7rPHtODnOL23izetl5syYIj3tA81ntgA1aJGMPrWOpgE1IIjG__vAOblJkML/s1416/WRAPPER-Marie-MenkenFRONT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1416" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7zb_dbSvG7wuOwJ-BOGRMc89SIkPtADA_eAPJIGZpRCmkYgUZEoq1v17k2ZRTWsVr3HLQtdYgjvACfv0QK3N-usDd3WZjXIFjBqHU9n5_wh16XxWrQ43ka4g-KGNr7rPHtODnOL23izetl5syYIj3tA81ntgA1aJGMPrWOpgE1IIjG__vAOblJkML/s320/WRAPPER-Marie-MenkenFRONT.jpg" width="226" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;"><br />Dans <i>Visual Variations</i> le spectateur est exposé à une large variété d'œuvres de Marie Menken, des œuvres qui s'avèrent éclectiques dans leur structure ainsi que dans leur contenu.</div><br /><div style="text-align: justify;"><span style="font-family: "Times New Roman", serif;">Ayant débuté en tant que peintre, Marie Menken (1910-1970) a toujours démontré une curiosité profonde pour le mélange de supports, une caractéristique conservée tout le long de sa carrière de réalisatrice expérimentale. En termes d'esthétique, nous pouvons supposer que l'abondance de textures ainsi que l'importance du mouvement et du contact avec l'appareil proviennent de cette carrière de peintre (la caméra étant tenue et manipulée tel un pinceau). Ce ne sont que quelques caractéristiques qui font de Menken une figure incroyablement importante pour le cinéma d'avant-garde américain, et également une influence majeure pour une panoplie de grands noms du cinéma expérimental et des arts plastiques de son époque et au-delà.</span></div><br /><div style="text-align: justify;"><span style="font-family: "Times New Roman", serif;">Cette édition de l'œuvre de Menken nous donne à voir la grande diversité des préoccupations esthétiques et empiriques de l'artiste.</span></div><div style="text-align: justify;"><br /></div><span style="font-family: "Times New Roman", serif;"><div style="text-align: justify;"><span>Dans </span><span><i>Visual Variations on Noguchi</i></span><span> (1945), la caméra navigue la surface de sculptures en bois de Noguchi, et zoom sur ces volumes telle une main qui tenterait de les toucher. Parfois, et à la surprise du spectateur, l'appareil se meut depuis l'intérieur même des structures, tandis qu'</span><span>il</span><span> adopte par moment une position presque voyeuriste, observant l'objet désiré depuis l'arrière des structures environnantes. Voilà quelques des caractéristiques qui offrent aux images de cette oeuvre une dimension haptique. C'est à travers cette proximité de la caméra aux sculptures, et la texture que cela ajoute à la matière déjà naturellement texturée du bois, que nous pouvons certainement ressentir l'expérience que Menken a eu des œuvres de Noguchi. De plus, les mouvements de la caméra</span><span>—</span><span>allant de gauche à droite, de bas en haut, mais aussi de l'intérieur à l'extérieur de ces objets dont l'on ne voit que des morceaux</span><span>—</span><span>invitent le spectateur à toucher avec les yeux et à voir avec les mains.</span></div></span><br /><div style="text-align: justify;">Ce sont des éléments que nous retrouvons dans plusieurs des films de Marie Menken, tels que Glimpse of the Garden (1957), dans lequel la présence de l'artiste—intimement liée aux images via les mouvements de la caméra portée—vient s'ajouter à la dimension sensuelle, voire tactile, de l'oeuvre. En outre, le montage réfléchi et élaboré vient lui aussi amplifier la profondeur de ce poème visuel : Menken débute par des plans assez cartésiens (des plans larges avec une grande profondeur de champ), dans lesquels nous pouvons voir le jardin et la serre de Dwight Ripley. Elle va par la suite méthodiquement réduire la taille des plans et leur profondeur de champ. Pendant cette réduction de la distance entre spectateur et images brillamment réussie, l'artiste tourne sur elle-même. Ce mouvement légèrement dépaysant et tout à fait inattendu vient annoncer les tribulations qui suivent—Menken passe à travers des arbres, elle zoom sur un arbuste (en coupant entre chaque variation de plan), elle secoue la caméra dans toutes les directions à une vitesse qui ne cesse d'augmenter, etc. Tout ceci est soudainement interrompu par l'image de la serre que nous apercevons au début du film, mais celle-ci ne semble pas appartenir au monde jusque-là exposé par l'artiste. Cette image vient ainsi apaiser, mais aussi brièvement (et légèrement) choquer le spectateur. Plus important encore, en transformant cette image précédemment cartésienne en une image haptique (on note qu'elle est maintenant sombre, manque de profondeur, et que le mouvement de l'eau lui apporte de la texture), toute distance pré-établie entre le spectateur et l'oeuvre s'effondre. Un autre élément vient souligner ce refus de distance : celui de la continuité des bruitages sonores (les chants et gazouillements des oiseaux) qui demeurent inchangés tout au long du film.</div><div style="text-align: justify;"></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5WJfUwaMGDkxfjaJ98dA7eHB80BybaG37JK2NzCn8hr9ZXsRR5GCHbB2IpAH0-Sp3xjo1chVIpppD_VdRrN0KyIiaW-8Q6AytSC59Z1X7ybRwbed8HyHYhNHpkrIrnkOtBjaB9D0B7KTG8JapqZxhMF3mWCUSZd2wvXZ9NDM6yL9fk-vcFsEWy1eU/s1440/MarieMenken-35%20(1).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5WJfUwaMGDkxfjaJ98dA7eHB80BybaG37JK2NzCn8hr9ZXsRR5GCHbB2IpAH0-Sp3xjo1chVIpppD_VdRrN0KyIiaW-8Q6AytSC59Z1X7ybRwbed8HyHYhNHpkrIrnkOtBjaB9D0B7KTG8JapqZxhMF3mWCUSZd2wvXZ9NDM6yL9fk-vcFsEWy1eU/w308-h231/MarieMenken-35%20(1).jpg" width="308" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs6m4BJTrUlEIRHqrr1XaOPi5rE-o3ZMF_5Qp6tzjDhWiaVYELcvEey2OEvxwdFCfmrQ0WUjqwK8PJyXgHv5_HXpD5nvp6D5FqpgvJFYVkbC-TwzxRIWQ3PNJlobL450q7BKrea_0nQKLq2Ab89VsLGIe3QTGS8X188LZlnEIm9UcKqQJCXQhHwO9C/s1440/MarieMenken-29.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1440" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs6m4BJTrUlEIRHqrr1XaOPi5rE-o3ZMF_5Qp6tzjDhWiaVYELcvEey2OEvxwdFCfmrQ0WUjqwK8PJyXgHv5_HXpD5nvp6D5FqpgvJFYVkbC-TwzxRIWQ3PNJlobL450q7BKrea_0nQKLq2Ab89VsLGIe3QTGS8X188LZlnEIm9UcKqQJCXQhHwO9C/w308-h231/MarieMenken-29.jpg" width="308" /></a> <br /></div><div style="text-align: justify;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBmacfpMNfmMH-bNtPVIgcJ7DczOYtkOvoEHqVu3NHfZZxHmffaWQznQ54aUlgvj-Jh54BX0Wuijm1Gov47uO2GcwX0xTcJKQ9VXnhxvMH7kIWOKfYYPLYeIBmQXLGnsiagKGKsh3aGDcgV1xB3kmJ8wGnVp-AyaryrVeNL_QQgG-d8pg0WEXAm_0R/s1440/MarieMenken-34.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBmacfpMNfmMH-bNtPVIgcJ7DczOYtkOvoEHqVu3NHfZZxHmffaWQznQ54aUlgvj-Jh54BX0Wuijm1Gov47uO2GcwX0xTcJKQ9VXnhxvMH7kIWOKfYYPLYeIBmQXLGnsiagKGKsh3aGDcgV1xB3kmJ8wGnVp-AyaryrVeNL_QQgG-d8pg0WEXAm_0R/s320/MarieMenken-34.jpg" width="320" /></a></div></div><br /><div style="text-align: justify;"><br />L'oeuvre qui suit est Hurry ! Hurry ! (1957), dans laquelle Menken pousse encore plus loin sa tentative de fusion entre images et spectateur en adoptant une vision microscopique de la vie et de la mort de spermatozoïdes. Puis le film en stop-motion Dwightiana (1959), qui utilise des images créées par Dwight Ripley, vient ajouter une touche de légèreté à la première partie de cette édition, chose caractéristique de l'artiste dont les poèmes visuels sont aussi variés que sa curiosité.</div><div><p align="justify" lang="fr-FR" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><br /></p></div>La notion d'hapticité rencontrée dans les deux premières œuvres revient avec Arabesque for Kennet Anger <br />(1961), par le biais de gros plans d'eau ainsi que de détails architecturaux extrêmement complexes. Nous sommes une nouvelle fois témoins d'une augmentation de la vitesse, qui, complémentée par la musique de Teiji Ito, nous offre une passionnante aventure sensorielle.<br /><br /><div style="text-align: justify;">Enfin, la dernière œuvre de cette première partie, Bagatelle for Willard Maas (1061), semble susciter un questionnement différent. Dans ce film dont le titre comprend le nom de son mari violent, Menken filme diverses œuvres d'art : des tableaux et des sculptures constituant un portrait de la femme (d'abord vue comme soumise, le regard masculin des peintres transperçant l'objective de Menken), et de l'homme, illustré par des images de héros ou de seigneurs. Puis, alors que le rythme s'accélère, le ton change. Après une image de La Liberté Guidant le Peuple (Delacroix, 1830), l'artiste filme des statues de femmes en contre-plongée, leur accordant une position de pouvoir, ainsi qu'une variété d'images de femmes émancipées. Simultanément, Menken nous montre des statues d'hommes en agonie, vaincus, souffrants, dont les corps, fragmentés par la réduction de la taille de plan, ne s'apparentent plus qu'à des objets (la structure et le rythme demeurant cependant constants). Ceci assombrie d'autant plus la fin du film : en effet, cette partie centrale (pleine d'espoir quant à la représentation de la femme, et celle de Menken même dans sa relation avec Maas) est immédiatement suivie d'un plan large se concentrant sur une statue épique d'un homme imposant, entouré de chevaux majestueux, prêt pour la bataille. Menken souligne son apparente importance à travers le regard : spécifiquement celui des visiteurs fixant la statue, mais aussi le sien dont la caméra agit comme une extension. Avec ce poème visuel aussi beau que personnel, Menken accorde au spectateur l'accès à son intériorité et subjectivité d'une manière qui lui est caractéristique.</div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_3QjFikRIk_WwIMeqIoiXbwwRk7EBszknBM6CwcrnTPvF4FabqIlsRDD1IdGtVWCbDBxfOmogivPPxCNlhQgIzdZVUck-IIBuevo11Zexao8Y26NPKFJjaMPQoYH9lKiO6ywAtEkf6WOw7FiiTr0LGEVZouykzgqOMqY_Oknqdwjnk0WHgbEPXPtE/s1440/MarieMenken-45.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_3QjFikRIk_WwIMeqIoiXbwwRk7EBszknBM6CwcrnTPvF4FabqIlsRDD1IdGtVWCbDBxfOmogivPPxCNlhQgIzdZVUck-IIBuevo11Zexao8Y26NPKFJjaMPQoYH9lKiO6ywAtEkf6WOw7FiiTr0LGEVZouykzgqOMqY_Oknqdwjnk0WHgbEPXPtE/s320/MarieMenken-45.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div style="text-align: justify;">Pour ces raisons, nous pouvons dire que le spectateur se prête, dès le départ, à une expérience profondément sensorielle. Cette édition, qui offre une organisation chronologique de l'oeuvre de Menken, permet au spectateur de naviguer librement les différents sujets et couches qui constituent la filmographie de l'artiste.</div><div><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 10pt;">- Ana Catarina F. Araú</span><span style="font-family: "Times New Roman", serif; font-size: 10pt;">jo</span></p></div><div style="text-align: left;"><br /></div><div style="text-align: justify;"></div><div style="text-align: justify;"><u style="font-family: "Times New Roman", serif; text-align: left;"><b>FILMS</b></u></div><div style="text-align: justify;"><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1945 </span><span style="font-family: Times New Roman, serif;"><i>Visual Variations on Noguchi</i></span><span style="font-family: Times New Roman, serif;"> 4'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1957 </span><span style="font-family: Times New Roman, serif;"><i>Glimpse of the Garden</i></span><span style="font-family: Times New Roman, serif;"> 5'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1957 </span><span style="font-family: Times New Roman, serif;"><i>Hurry! Hurry!</i></span><span style="font-family: Times New Roman, serif;"> 3'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1959 </span><span style="font-family: Times New Roman, serif;"><i>Dwightiana</i></span><span style="font-family: Times New Roman, serif;"> 3'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1961 </span><span style="font-family: Times New Roman, serif;"><i>Arabesque for Kenneth Anger</i></span><span style="font-family: Times New Roman, serif;"> 4'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1961 </span><span style="font-family: Times New Roman, serif;"><i>Bagatelle for Willard Maas</i></span><span style="font-family: Times New Roman, serif;"> 5'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1961 </span><span style="font-family: Times New Roman, serif;"><i>Drips in Strips</i></span><span style="font-family: Times New Roman, serif;"> 3'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1961 </span><span style="font-family: Times New Roman, serif;"><i>Eye Music in Red Major</i></span><span style="font-family: Times New Roman, serif;"> 5'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1962 </span><span style="font-family: Times New Roman, serif;"><i>Notebook</i></span><span style="font-family: Times New Roman, serif;"> 10'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1964 </span><span style="font-family: Times New Roman, serif;"><i>Moonplay</i></span><span style="font-family: Times New Roman, serif;"> 5'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1964 </span><span style="font-family: Times New Roman, serif;"><i>Go Go Go</i></span><span style="font-family: Times New Roman, serif;"> 11'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1965 </span><span style="font-family: Times New Roman, serif;"><i>Mood Mondrian</i></span><span style="font-family: Times New Roman, serif;"> 5.5'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1965 </span><span style="font-family: Times New Roman, serif;"><i>Andy Warhol</i></span><span style="font-family: Times New Roman, serif;"> 18'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1966 </span><span style="font-family: Times New Roman, serif;"><i>Sidewalks</i></span><span style="font-family: Times New Roman, serif;"> 6'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1967 </span><span style="font-family: Times New Roman, serif;"><i>Watts with Eggs</i></span><span style="font-family: Times New Roman, serif;"> 2'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1968 </span><span style="font-family: Times New Roman, serif;"><i>Excursion</i></span><span style="font-family: Times New Roman, serif;"> 5'</span></p></div><div style="text-align: justify;"><br /><br /><div style="text-align: left;">DVD disponible ici : <a href="https://re-voir.com/shop/fr/marie-menken/1451-marie-menken-visual-variations.html">https://re-voir.com/shop/fr/marie-menken/1451-marie-menken-visual-variations.html</a><br /></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-12686080909356779332022-09-30T08:32:00.002-07:002022-12-07T03:50:02.646-08:00Marie Menken - DVD release Visual Variations - English Version<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiYZefNa29E4i08hJ1mv74Q7uuD_RTBnDgMPHBol1XU5xcJNaNCB6aDSsRnat-BT0CaklrqfCVjJmheJlYZBxZj0YZGo7pR_np3R63Z1-s3uZTHiMVRMQcagi8cuaxKaxNhzJQN9Qsy1U7mx0sLN-YYtIDZYbPauFRSIYlIaf7Pvimbfy0eHjRz8bP/s1416/WRAPPER-Marie-MenkenFRONT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1416" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiYZefNa29E4i08hJ1mv74Q7uuD_RTBnDgMPHBol1XU5xcJNaNCB6aDSsRnat-BT0CaklrqfCVjJmheJlYZBxZj0YZGo7pR_np3R63Z1-s3uZTHiMVRMQcagi8cuaxKaxNhzJQN9Qsy1U7mx0sLN-YYtIDZYbPauFRSIYlIaf7Pvimbfy0eHjRz8bP/s320/WRAPPER-Marie-MenkenFRONT.jpg" width="226" /></a></div><br /><p style="text-align: center;"></p><div style="text-align: left;"><span style="font-family: Times New Roman, serif; text-align: justify;">I</span><span style="text-align: justify;">n <i>Visual Variations</i> the spectator is exposed to a wide variety of Marie Menken's works, works that prove eclectic in their structure as well as in their content.</span></div><div style="text-align: left;"><span style="text-align: justify;"><br /></span></div><span style="font-family: "Times New Roman", serif;"><div style="text-align: justify;">Having started as a painter, Marie Menken (1910-1970) has always showcased a deep curiosity for the mixing of different media, a characteristic kept well throughout her moving image career. In aesthetic terms, heavy textures, much movement and contact with the apparatus, can also be said to stem from her career as a painter (the camera held and moved as a brush). These are some of the characteristics that make of Menken an astonishingly important figure in the American avant-garde scene and a major influence for an array of pivotal experimental filmmakers and artists of her time and beyond.</div></span><br />In this edition of Menken's works, one sees just how diverse the artist was in her aesthetic preoccupations as well as experiential ones.<br /><span style="font-family: Times New Roman, serif;"><br /></span><div><div style="text-align: justify;"><span style="font-family: Times New Roman, serif;">In </span><span style="font-family: Times New Roman, serif;"><i>Visual Variations on Noguchi</i></span><span style="font-family: Times New Roman, serif;"> (1945), the camera browses over the surface of Noguchi's wooden </span>sculptures; it zooms in as if trying to touch their surface. At times it surprises the spectator by coming from within the structures whilst occasionally adopting an almost voyeuristic position, looking at the desired object from behind surrounding structures. These are a few aspects that grant this work's imagery a haptic dimension. We can certainly feel Menken's experience of Noguchi's works through the closeness of the camera to the sculptures and the texture this adds to the already textured wooden surfaces. What's more, through the camera moving up and down, in and out of these only partially seen objects, the spectator is invited to touch with their eyes and see with their hands.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">These are elements that we can find in several of Menken's works, such as in <i>Glimpse of the Garde</i>n (1957), where her presence, inextricably linked to the imagery via the handheld camera movements, is layered upon this sensuous and even tactile dimension. Moreover, the intricate and elaborate editing adds depth to this visual poem: Menken starts with a rather Cartesian composition—wide shots, with a lot of depth to them, where we can see Ripley's garden and greenhouse. She then goes onto methodically reducing the shot size and depth. Amidst this beautifully conducted reduction of the distance between the spectator and the imagery, Menken turns on herself. This slightly disorienting and completely unexpected camera movement comes announce the twists and turns that follow—she walks through trees, she zooms in on a bush of flowers (cutting between each shot variation), moves the camera around in every direction at an ever increasing speed, etc.—until all is suddenly interrupted by a reflection of the greenhouse we saw in the beginning, except this one doesn’t seem to belong to the world she's been showing so far. Furthermore, this image comes sooth, but also briefly (and only slightly) shock the spectator. What this image does, as well, is vehemently deny any sort of pre-established distance between the spectator and the work, by transforming this previously Cartesian image, into a haptic one (the image is now dark, it lacks depth, and it is textured by the movement of the water). Another element underlining this refusal of any kind of distance is the continuity of the soundtrack (birds chirping and singing), unaltered from the beginning until the end of this beautiful film.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPw_R25EybdbdO3lpmS_wMvS00VCEm_n0iCiQvQNrW-b7hEuSFLiUSQVo0fzbXbEu3M8GPfjAfaZ3p9FWrvt4fhObnl-25W9lbJKJPyINTZXTjRyPaLEUiSaYP-T-FftvBfXimfh3ZdTEUsAExgdj8LBIHFwXiNEFlRgSDh6RMVKFvHIOQiiGamMpv/s1440/MarieMenken-35.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPw_R25EybdbdO3lpmS_wMvS00VCEm_n0iCiQvQNrW-b7hEuSFLiUSQVo0fzbXbEu3M8GPfjAfaZ3p9FWrvt4fhObnl-25W9lbJKJPyINTZXTjRyPaLEUiSaYP-T-FftvBfXimfh3ZdTEUsAExgdj8LBIHFwXiNEFlRgSDh6RMVKFvHIOQiiGamMpv/w299-h224/MarieMenken-35.jpg" width="299" /></a> <img border="0" data-original-height="1080" data-original-width="1440" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_M43Wv2EvBd8kHezXqduCIZZ23Lgnbaqkh4lf5uWsFlGL6KFep7UJxrL1YpNu7Bxdw9k2ErXQCe-7w0X01XOBqUwNqB2XAJpDvIE8x8tDXO55yunQ_vbg_cVxCmssabn3J5vN1597iQjXZr5qGOR8vpbUww7dmrg7dk3Vn3vIQ5igqqEx9OxqzbdF/w299-h225/MarieMenken-29.jpg" width="299" /> <br /></div></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><br /></div> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoGk6nCRhJs2qgtks946_M3hf9SzsBJi-hjSDdXcLC06-R3no0Fpxtkxs0fJwfn0EbxrWmFIQOnyWzhNRcdbBtT2vqwfox3H-k4JgAspfrnQ4k-s-FvEWqZM0SOERZub70rnQ_FeAZvyTZ6DgQoYr6Cd5NEAcnOPe1TJobLQOQ4k8WEC_6XmdhG3s9/s1440/MarieMenken-34.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoGk6nCRhJs2qgtks946_M3hf9SzsBJi-hjSDdXcLC06-R3no0Fpxtkxs0fJwfn0EbxrWmFIQOnyWzhNRcdbBtT2vqwfox3H-k4JgAspfrnQ4k-s-FvEWqZM0SOERZub70rnQ_FeAZvyTZ6DgQoYr6Cd5NEAcnOPe1TJobLQOQ4k8WEC_6XmdhG3s9/w295-h221/MarieMenken-34.jpg" width="295" /></a></div></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">What follows is <i>Hurry! Hurry!</i> (1957), a film where Menken goes even further in this attempt to merge spectator and image by adopting a microscopic vision of the dizzying life and death of spermatozoids.</div><div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>Dwightiana</i> (1959), a stop-motion of Dwight Ripley's images, comes add a little lightheartedness to the first section of this edition, something characteristic of the artist, whose visual poems are as varied as her curiosity.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">We go back to the hapticity of the first couple of works with <i>Arabesque for Kenneth Anger</i> (1961), although here this is done through close-ups of heavily detailed architecture, and water. Once again we witness an increase in speed, which when complemented by the music of Teiji Ito, makes for an exciting sensorial experience.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Now, the last film of the first part seems to entice a different understanding. In <i>Bagatelle for Willard Maas</i> (1961), Menken films art. She films paintings and sculptures that seem to account for a portrait of women (at first portrayed as submissive, the male gaze of the painters piercing through Menken's lens), and men, portrayed as heroes and sires. As the rhythm increases, the tone changes in this film whose title includes Menken's violent husband's name. We notice Liberty Leading the People (Delacroix, 1830), and from then on she films statues of women from low angles (granting them a position of power), and other overall empowering representations of women; simultaneously, she films statues of men in great agony, defeated, suffering, their bodies at times objectified by a reduction in shot size that comes fragment them (Menken's structure and rhythm stay consistent). This makes the end all the more saddening: after the hope of the middle section discussed prior, the film ends with a large, wide shot of an epic statue portraying a grandiose man surrounded by magnificent horses, going into battle. Besides this, Menken underlines its importance by focusing on the gaze: she makes sure to film all the visitors gazing at the statue, herself looking and pointing her camera at it. With this beautiful and extremely private visual poem, Menken grants the spectator access to her interiority and subjectivity in a way that is characteristic of her.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMdL7B8wfcdijsaue66YWeIUP7lqVv90VIVjE10bh-BitG8TW9bH2-365ZVNSTdkOc3luf6wQpmp-sK9WUXnRm8HrYS1gqSK1LfZ40yUaEerIOzqe0MisLZXUcJ5xo4nQGymNPkbxdwzJmcecRPo9xUSfkTwnMozFWVd2yBsxIuiMnO4IzoF6Nj9ue/s1440/MarieMenken-45.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMdL7B8wfcdijsaue66YWeIUP7lqVv90VIVjE10bh-BitG8TW9bH2-365ZVNSTdkOc3luf6wQpmp-sK9WUXnRm8HrYS1gqSK1LfZ40yUaEerIOzqe0MisLZXUcJ5xo4nQGymNPkbxdwzJmcecRPo9xUSfkTwnMozFWVd2yBsxIuiMnO4IzoF6Nj9ue/s320/MarieMenken-45.jpg" width="320" /></a></div><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;">On account of this, it is safe to say that the spectator is in for a deep sensorial and poetic experience from the beginning. Because of the chronological organization of Menken's works, this edition allows the spectator the agency to navigate freely between the different subjects and layers of Menken's oeuvre.</div><div><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;"><span style="font-size: 10pt;">- Ana Catarina F. Ara<span style="font-variant-east-asian: normal; font-variant-numeric: normal;"><span style="color: black;">ú</span></span>jo</span></span></p></div><div style="text-align: right;"><br /></div><div style="text-align: justify;"><u style="font-family: "Times New Roman", serif; text-align: left;"><b>FILMS</b></u></div><div style="text-align: justify;"><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1945 </span><span style="font-family: Times New Roman, serif;"><i>Visual Variations on Noguchi</i></span><span style="font-family: Times New Roman, serif;"> 4'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1957 </span><span style="font-family: Times New Roman, serif;"><i>Glimpse of the Garden</i></span><span style="font-family: Times New Roman, serif;"> 5'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1957 </span><span style="font-family: Times New Roman, serif;"><i>Hurry! Hurry!</i></span><span style="font-family: Times New Roman, serif;"> 3'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1959 </span><span style="font-family: Times New Roman, serif;"><i>Dwightiana</i></span><span style="font-family: Times New Roman, serif;"> 3'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1961 </span><span style="font-family: Times New Roman, serif;"><i>Arabesque for Kenneth Anger</i></span><span style="font-family: Times New Roman, serif;"> 4'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1961 </span><span style="font-family: Times New Roman, serif;"><i>Bagatelle for Willard Maas</i></span><span style="font-family: Times New Roman, serif;"> 5'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1961 </span><span style="font-family: Times New Roman, serif;"><i>Drips in Strips</i></span><span style="font-family: Times New Roman, serif;"> 3'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1961 </span><span style="font-family: Times New Roman, serif;"><i>Eye Music in Red Major</i></span><span style="font-family: Times New Roman, serif;"> 5'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1962 </span><span style="font-family: Times New Roman, serif;"><i>Notebook</i></span><span style="font-family: Times New Roman, serif;"> 10'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1964 </span><span style="font-family: Times New Roman, serif;"><i>Moonplay</i></span><span style="font-family: Times New Roman, serif;"> 5'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1964 </span><span style="font-family: Times New Roman, serif;"><i>Go Go Go</i></span><span style="font-family: Times New Roman, serif;"> 11'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1965 </span><span style="font-family: Times New Roman, serif;"><i>Mood Mondrian</i></span><span style="font-family: Times New Roman, serif;"> 5.5'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1965 </span><span style="font-family: Times New Roman, serif;"><i>Andy Warhol</i></span><span style="font-family: Times New Roman, serif;"> 18'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1966 </span><span style="font-family: Times New Roman, serif;"><i>Sidewalks</i></span><span style="font-family: Times New Roman, serif;"> 6'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1967 </span><span style="font-family: Times New Roman, serif;"><i>Watts with Eggs</i></span><span style="font-family: Times New Roman, serif;"> 2'</span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">1968 </span><span style="font-family: Times New Roman, serif;"><i>Excursion</i></span><span style="font-family: Times New Roman, serif;"> 5'<br /><br /></span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;"><br /></span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;">DVD available here :<br /><br /> </span></p><p align="justify" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; line-height: 1px; margin-bottom: 0in; text-align: left;"><span style="font-family: Times New Roman, serif;"><a href="https://re-voir.com/shop/en/marie-menken/1451-marie-menken-visual-variations.html">https://re-voir.com/shop/en/marie-menken/1451-marie-menken-visual-variations.html</a><br /></span></p></div>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-33994697386258121442022-09-05T03:28:00.001-07:002022-09-05T03:28:24.705-07:00David Brooks - DVD release The Wind is Driving Him towards the Open Sea<p><span style="font-size: large;"><b>DVD David Brooks -The Wind is Driving Him Towards the Open Sea<br /></b></span></p><p style="text-align: justify;"><span style="font-size: large;"></span></p><h3><b><u><span style="font-family: times;"><span style="font-size: medium;">FRANÇAIS </span></span><span style="font-family: times; font-size: medium; font-weight: 400;">(English version below)</span></u></b></h3><p style="text-align: justify;">Le DVD David Brooks sort officiellement fin septembre 202 </p><p style="text-align: justify;"><span style="font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijsrdINaJkPaMtTE6I8LVfKT7mBmA-ik0mxEI_9XvClyn_z27urVRraHrZlME1Nt-DUYXhtsAwjJmgvXVBTsiEQV-eJ10sSf1KH1LEnCjFWYSEgBaVNoFDNsRxnxVH2uYrGNg90UU0hT0AR8uzgUFo27SLScN77h2YR7UAgG97LhH0h75Sl4OWAKkh/s1061/Screen%20Shot%202022-05-03%20at%2016.44.23.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1061" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijsrdINaJkPaMtTE6I8LVfKT7mBmA-ik0mxEI_9XvClyn_z27urVRraHrZlME1Nt-DUYXhtsAwjJmgvXVBTsiEQV-eJ10sSf1KH1LEnCjFWYSEgBaVNoFDNsRxnxVH2uYrGNg90UU0hT0AR8uzgUFo27SLScN77h2YR7UAgG97LhH0h75Sl4OWAKkh/s320/Screen%20Shot%202022-05-03%20at%2016.44.23.png" width="320" /></a></span></div><p></p><p style="text-align: justify;"><span style="white-space: pre;"> </span>“It is through the lyrical flow of his camera, through his intuitive knowledge of the right length of each shot and the natural grafting of one onto another, that his statements on film assume the quality of poetry .” 1 C’est de cette manière que David Curtis résume la manière de filmer de David Brooks, réalisateur américain méconnu et décédé très jeune (à l’âge de 24 ans) dans un accident de voiture, en 1969. Il est ici caractérisé comme un maître du montage, qui réalise des films éminemment poétiques. </p><p style="text-align: justify;"><span style="white-space: pre;"> </span>Décrivons d’abord la manière de filmer de Brooks, très originale et que l’on peut aisément qualifier de frénétique et mouvementée. En effet, le cinéaste bouge sa caméra dans tous les sens, vers tous les côtés; et exécute parfois des mouvements de caméra presque circulaires, voire effectue un tour sur lui-même, ce qui crée des panoramiques complets – et rappelle aussi le mouvement d’un photogramme sur de la pellicule. En tenant sa caméra à l’épaule, il tourne de manière instable et rapide, et produit une image souvent tremblante. Les zooms avant et arrière et les mouvements de focale sont très utilisés. Dans <i>The Wind is Driving towards the Open Sea</i> (1963), une femme âgée, en parlant d’une autre personne, dit qu’”Il dessine compulsivement”. Elle semble s’adresser par la même occasion au réalisateur, qui fait ses films, lui aussi, de manière apparemment compulsive. Notons également que les scènes sont très majoritairement filmées en extérieur. Enfin, Brooks n’hésite pas à filmer des personnes qui sont elles-mêmes en train de filmer (comme le personnage de Carolyn dans le dernier film, en trois parties), ou bien à se filmer en train de filmer.</p><p></p><p style="text-align: justify;"><span style="white-space: pre;"> </span>Outre ces aspects, on remarque aussi que beaucoup de passages ne montrent qu’un écran très sombre voire totalement noir, avec parfois seulement quelques lumières. Brooks joue aussi avec les couleurs qu’il donne à voir au spectateur; il ajuste parfois sa caméra alors même qu’il est en train de tourner, volontairement.</p><p style="text-align: justify;"><span style="white-space: pre;"> </span>Le montage, heurté, n’est par pour autant bâclé. Les effets d’accélération sont fréquents, tout comme les fondus au noir. Les cuts sont très rapides : un plan dure rarement plus de quelques secondes. En ajoutant des photographies ou encore des extraits de cartes géographiques pour mieux situer un lieu qu’il évoque, Brooks crée de véritables ruptures dans ses films, mais nourrit aussi son propos en matière contextuelle. </p><p style="text-align: justify;"><span style="white-space: pre;"> </span>Les films de David Brooks sont parfois rythmés par des récits, de personnes diverses : par exemple, un médecin s’exprime sur les ravages de la guerre du Vietnam. La dimension politique n’est donc bien entendu pas absente de ce corpus. D’une certaine manière, ces métrages ressemblent à des films de vacances, dans la mesure où ils semblent très spontanés, et aussi parce qu’ils sont mouvementés. Il s’agit en tout cas d’une exploration de très nombreux lieux; mais aussi d’éléments naturels : Brooks n’hésite pas à filmer la mer, les paysages qui s’étendent à perte de vue et surtout les arbres, qu’il cherche à montrer de manière exhaustive, avec toutes les branches qui les composent. Comme Robert Kramer, David Brooks ne filme donc pas nécessairement l’action, mais plutôt les aspects qui entourent l’action. Il y a ainsi, de la part du réalisateur, une forme de volonté de faire le point sur l’endroit où il se trouve, comme s’il souhaitait nous montrer tous les détails dont il regorge. Une part de mysticisme est aussi représentée; avec notamment toute une intrigue, récurrente lors de l’avant-dernier film, sur le Népal et plus précisément sur l’histoire de Kumari, déesse du même pays, qui relie les séquences entre elles. Le dernier film, <i>Carolyn and me 1 – 2 – 3</i>, est organisé sous la forme d’un tryptique. Véritable déambulation avec une jeune femme, plusieurs moments de leur quotidien sont dévoilés.</p><p style="text-align: justify;"><span style="white-space: pre;"> </span>En ce qui concerne la musique, les films sont très souvent (sauf, bien sûr, pour les deux qui sont silencieux) accompagnés d’une riche bande-son, à la fois composée de jazz et de rock – on peut entendre par exemple des extraits des Beatles, et à plusieurs reprises le titre <i>Somebody to love</i> des Jefferson Airplane – mais aussi de musique traditionnelle; qui pourrait être indienne, népalaise ou bien himalayenne. Les dialogues sont peu nombreux, et il ne s’agit pas de questions/réponses, mais plutôt de courts monologues. </p><p></p><p style="text-align: justify;"><span style="white-space: pre;"> </span>En mélangeant une esthétique bien particulière et une manière de tourner innovante, Brooks parvient donc à créer une poésie qui lui est propre. Il se place ici à la fois en tant qu’artisan – de nombreux plans montrent des personnes en train de filmer – et en tant que réalisateur expérimental – en créant de nouvelles formes. <br /><br />DVD disponible ici : <a href="https://bit.ly/3c2d2MC">https://bit.ly/3c2d2MC</a><br /><br /><span style="text-decoration: underline;">FILMS</span><br />1963 Jerry 3'<br />1964 Nightspring Daystar 17'<br />1966 Winter 16'<br />1967 Letter to D.H. in Paris 4'<br />1968 Eel Creek 7'<br />1968 The Wind is Driving Him Toward the Open Sea 50'<br />1969 Carolyn and Me 1-2-3 90'<br /><br />DVD9 PAL Interzone • Stereo • Color • 4:3 • Sous-titres FR • 187 min<br />EN/FR Booklet by / Livret de Stephen Broomer & J. J. Murphy</p><div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdgv4HgnzpZFpEdkdvKIS5z2NUgxC7n1b6ujAXk0kiQSjAEy1gOSqD7obCs9LlfJeN529lYRY6xoXV9wN8cmMt1kSjX2ZCseyXRq52dqSZXlj7ebzOwFHsWNFWfM1KtyLfG3lhc9jep7ZZzRTnN4gHKB4aLZmkXkP88ZBkKXAvJwrtfGdwVouG470O/s1441/Screen%20Shot%202022-05-03%20at%2015.52.17.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1079" data-original-width="1441" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdgv4HgnzpZFpEdkdvKIS5z2NUgxC7n1b6ujAXk0kiQSjAEy1gOSqD7obCs9LlfJeN529lYRY6xoXV9wN8cmMt1kSjX2ZCseyXRq52dqSZXlj7ebzOwFHsWNFWfM1KtyLfG3lhc9jep7ZZzRTnN4gHKB4aLZmkXkP88ZBkKXAvJwrtfGdwVouG470O/s320/Screen%20Shot%202022-05-03%20at%2015.52.17.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i>Letter to D.H. in Paris</i> (1967)</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHalcuWDRV0dp6PWYzbKbmMLTY8FOgLvTxCw3GPa6CSrn2vlQ2OVjpIY-k5CRaSaz6Ads4yFUsnFbd-xqy04C1e7fJH5y29EhPXvDCInVxBnL1JNWMazTFSl_Do5Gv5oUqARB29vMswdYWDJ4YE6Md-AyajxsXbxNjGEgwcFyhJh43ZJt8PeI4EEsN/s1440/Screen%20Shot%202022-05-03%20at%2015.53.12.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHalcuWDRV0dp6PWYzbKbmMLTY8FOgLvTxCw3GPa6CSrn2vlQ2OVjpIY-k5CRaSaz6Ads4yFUsnFbd-xqy04C1e7fJH5y29EhPXvDCInVxBnL1JNWMazTFSl_Do5Gv5oUqARB29vMswdYWDJ4YE6Md-AyajxsXbxNjGEgwcFyhJh43ZJt8PeI4EEsN/s320/Screen%20Shot%202022-05-03%20at%2015.53.12.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i>Nightspring Daystar</i> (1964)</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3BAub3Vy1MvCTzjgLbCXVvc_6dmOhD3wqoVSEbnvv9x8wLiK7nYy1JDiLEX2iwYFTYBmtW_E6y5kQ2tvpsjdXT_iKuy_Wrl_pBnKYZh6GwumCYW6bPL60hXfDQWMZ_wF-c7kYk8OzFRBw6MqPVC3Qpe7xef4si6NlTX5cKtwWRyOE2m9wU_-jR9Oj/s1443/Screen%20Shot%202022-05-03%20at%2015.53.44.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1443" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3BAub3Vy1MvCTzjgLbCXVvc_6dmOhD3wqoVSEbnvv9x8wLiK7nYy1JDiLEX2iwYFTYBmtW_E6y5kQ2tvpsjdXT_iKuy_Wrl_pBnKYZh6GwumCYW6bPL60hXfDQWMZ_wF-c7kYk8OzFRBw6MqPVC3Qpe7xef4si6NlTX5cKtwWRyOE2m9wU_-jR9Oj/s320/Screen%20Shot%202022-05-03%20at%2015.53.44.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Jerry (1963)</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK4U2DXj24xyfducMIhW9-D-byT-C5mIoOPBvGbPa5CjAQMbFMoFDgf59IrKN0C3XMowkazFtnwyjVDJ4hEt9GNFQLUwxTEJo1ASqm2bMq8RQh-W0kurNyYx0rZtocEKgtKYecNHPnhzrr8PSkvFV_9_3d0HQpFh_cuNRPir0e0cUGSM_fKkGKsy6j/s1497/Screen%20Shot%202022-05-03%20at%2015.54.18.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1497" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK4U2DXj24xyfducMIhW9-D-byT-C5mIoOPBvGbPa5CjAQMbFMoFDgf59IrKN0C3XMowkazFtnwyjVDJ4hEt9GNFQLUwxTEJo1ASqm2bMq8RQh-W0kurNyYx0rZtocEKgtKYecNHPnhzrr8PSkvFV_9_3d0HQpFh_cuNRPir0e0cUGSM_fKkGKsy6j/s320/Screen%20Shot%202022-05-03%20at%2015.54.18.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i>Carolyn and me</i> (1969)</div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCBwQ6Axzy5BdNxZpY6gt0le3Wuufytuv8SBlErstNFLV6h1bPq4jEpcMP0TY31f2inTUAIZf0Tgg-vYjmqCAocvR-ABeNJiYER90PNhR5hvxSDyjgI8iDymnOLabRSlI4FUktksVxIo-X4kOpA0ZUzeIGY43iwekxZ6hSMzRzM7-IkF1hOrRSjVI0/s1442/Screen%20Shot%202022-05-03%20at%2015.49.59.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1442" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCBwQ6Axzy5BdNxZpY6gt0le3Wuufytuv8SBlErstNFLV6h1bPq4jEpcMP0TY31f2inTUAIZf0Tgg-vYjmqCAocvR-ABeNJiYER90PNhR5hvxSDyjgI8iDymnOLabRSlI4FUktksVxIo-X4kOpA0ZUzeIGY43iwekxZ6hSMzRzM7-IkF1hOrRSjVI0/s320/Screen%20Shot%202022-05-03%20at%2015.49.59.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="text-align: justify;">The Wind is Driving towards the Open Sea</i><span style="font-style: italic; text-align: justify;"> (1963)</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-style: italic; text-align: justify;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYUDs2rw9xeh9viXnFKuYm3uKyzj3e5wVc7YMDVF1odOtyTfrW0fZPv0RMcewGfRUW--4t4wuK3v2OJUa_fG29T2WOHx1rs1icaPxZYPy7vWLWNcy6xKynuk1OrfRGjgkOBbleFvXRb0rjEKtmU5MUBQZjCCFUbaTxGQZzbAEQ_6dYj20raqyoPcsn/s1482/Screen%20Shot%202022-05-03%20at%2015.50.58.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1482" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYUDs2rw9xeh9viXnFKuYm3uKyzj3e5wVc7YMDVF1odOtyTfrW0fZPv0RMcewGfRUW--4t4wuK3v2OJUa_fG29T2WOHx1rs1icaPxZYPy7vWLWNcy6xKynuk1OrfRGjgkOBbleFvXRb0rjEKtmU5MUBQZjCCFUbaTxGQZzbAEQ_6dYj20raqyoPcsn/s320/Screen%20Shot%202022-05-03%20at%2015.50.58.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i>Eel Creek</i> (1968)</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigTWetV4KZSgSyqAKu2Ej_yeqdvqJ-pWC0aTfVvF_yxqI6AOELqoukPP5D0C39c48egFKkfqPz3QEaKkyj8XpayWmyAnPyDnNcGcK4zGlQPGNonb4zosj1iPbA34w5YA5gmHK3KHeYnC7MYycp08D0CWglI1cHD7A0drgf4zLaf5EUWpUGp7mRSHrD/s1442/Screen%20Shot%202022-05-03%20at%2015.51.29.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1442" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigTWetV4KZSgSyqAKu2Ej_yeqdvqJ-pWC0aTfVvF_yxqI6AOELqoukPP5D0C39c48egFKkfqPz3QEaKkyj8XpayWmyAnPyDnNcGcK4zGlQPGNonb4zosj1iPbA34w5YA5gmHK3KHeYnC7MYycp08D0CWglI1cHD7A0drgf4zLaf5EUWpUGp7mRSHrD/s320/Screen%20Shot%202022-05-03%20at%2015.51.29.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i>Winter</i> (1966)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">1. Je traduis : “ C'est par le flux lyrique de sa caméra, par sa connaissance intuitive de la bonne longueur de chaque plan et par la greffe naturelle d’un plan sur l'autre, que ses déclarations sur la pellicule relèvent de la qualité de la poésie. »</div><p></p><p style="text-align: justify;">in Anthology Film Archives catalogue, juillet/août/septembre 2006 [https://film-makerscoop.com/filmmakers/david-brooks/bio?page=2]</p><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"></div><br /></div><div style="text-align: justify;">-Baptiste Brune</div><span><a name='more'></a></span><div style="text-align: justify;"><b style="text-align: left;"><span style="font-family: times;"><span style="font-size: medium;">ENGLISH<br /><br /></span></span></b></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="text-align: left;"><span><span style="font-family: times;"><div style="text-align: left;"> Let's first look at Brooks' way of filming: his style can be described as frantic and hectic. The filmmaker moves his camera in all directions, to all sides; and sometimes utilizes circular camera movements, even performing a turn on itself, which creates full pans – recalling the movement of a film frame from the camera. As most of his filming is done handheld, he shoots unsteadily and quickly, thus producing an often shaky image. He also uses a fair amount of zooming, both in and out. "In The Wind Is Driving Into The Open Sea" (1963), an elderly woman, speaking of another person not present on camera, says "He draws compulsively". She seems to be addressing the director at the same time, who also makes his films, apparently compulsively. Note also that the scenes are mostly filmed outdoors. Finally, Brooks does not hesitate to film people who are themselves filming (like the character of Carolyn in the last film), or to film himself filming.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"> In addition to these aspects, we also notice that many scenes only show a very dark or even completely black screen, with sometimes only a few lights. Brooks also plays with the colors he shows the viewer; he sometimes purposefully adjusts his camera while filming. The assembly can look sloppy: acceleration effects are common, as are fades to black and hard and fast cuts: a shot rarely lasts more than a few seconds. By adding photographs or extracts from geographical maps to better explain the place he evokes, Brooks creates real breaks in his films, but also expands upon the context of his subject.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"> David Brooks' films are sometimes punctuated by stories from various people: for example, a doctor talks about the ravages of the Vietnam War. A political dimension is certainly not absent from his work. In some ways, these films are like home movies, in that they seem very spontaneous and hectic. It is an exploration of many places; but also natural elements: Brooks does not hesitate to film the sea, the landscapes that stretch as far as the eye can see and especially the trees, which he seeks to show in an exhaustive way, with all the branches that compose them. Like Robert Kramer, David Brooks does not necessarily film the action, but rather the aspects that surround the action. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"> There is, on the part of the director, a desire to take stock of the place where he is, as if he wants to show us all the details of where he is. A kind of mysticism is also represented; with, in particular, a whole intrigue recurring during the penultimate film on Nepal, more precisely on the history of the goddess Kumari. The last film, "Carolyn And Me 1 – 2 – 3", is organized in the form of a triptych. A veritable wandering with a young woman, several moments of daily life are revealed.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"> As far as music is concerned, the films are very often (except, of course, for the two which are silent) accompanied by a rich soundtrack, composed of both jazz and rock - we can hear, for example, excerpts from The Beatles, and on several occasions the song "Somebody To Love" by Jefferson Airplane; There is also traditional music, from Indian, Nepalese or Himalayan origin. The dialogue is limited, and often not in the format of question and answer, but rather in short monologues. By mixing a very particular aesthetic and an innovative way of filming, Brooks manages to create a poetry of his own. He places himself here both as an artisan – many shots show people filming – and as an experimental director – creating new forms.<br /><br /><div style="text-align: justify;">-Baptiste Brune</div><br />DVD available here : <a href="https://bit.ly/3c2d2MC">https://bit.ly/3c2d2MC</a></div></span></span></span></div>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-5436011217070696272022-06-21T06:16:00.001-07:002022-06-21T08:28:44.266-07:00Robert Kramer - Route One/USA<h2 style="text-align: left;"><b style="font-size: x-large;">DVD Robert Kramer Work/vol.07</b></h2><h3 style="text-align: left;"><b><u><span style="font-family: times;"><span style="font-size: medium;"><br /></span></span></u></b></h3><h3 style="text-align: left;"><b><u><span style="font-family: times;"><span style="font-size: medium;">FRANÇAIS </span></span><span style="font-family: times; font-size: medium; font-weight: 400;">(English version below)</span></u></b></h3><p>Le coffret vol. 07 de Robert Kramer sort le 15 juin prochain.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixWJg26oplS-c-lD9Ku0VQKO0Tm5BGuPfpCLSdKvcqAgSHW7pokjhqpKi74iaKJTSpyKjsX4p2RfIu602JEm-skWqGFhJU8nRegrKmfvG3j4HSMRPKUrSoS8uj_Y-r5ji5as3uB5GKeoT-NmQ0C5qT_hJ7XmbjFiSD2k8q3uBAexfm4gXx8oDG6woj/s769/Robert_Kramer-Works_vol_07-FRONTCOVER.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="769" data-original-width="596" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixWJg26oplS-c-lD9Ku0VQKO0Tm5BGuPfpCLSdKvcqAgSHW7pokjhqpKi74iaKJTSpyKjsX4p2RfIu602JEm-skWqGFhJU8nRegrKmfvG3j4HSMRPKUrSoS8uj_Y-r5ji5as3uB5GKeoT-NmQ0C5qT_hJ7XmbjFiSD2k8q3uBAexfm4gXx8oDG6woj/s320/Robert_Kramer-Works_vol_07-FRONTCOVER.jpg" width="248" /></a></div><p></p><p style="text-align: justify;"><b style="text-align: justify;">Robert Kramer (réalisation, image et montage), <i>Route One/USA</i>, long-métrage, 255 minutes, couleurs, Super 16mm gonflé en 35, France, prod. Les Films d’ici, La Sept (Paris), 1989 (Grand Prix au SCAM, Grand Prix au festival de Yamagata, 1991)</b></p><p style="text-align: justify;"><span style="white-space: pre;"> </span>Sorti en 1989, <i>Route One/USA</i>, comme son nom l’indique, montre un road-trip que son réalisateur, Robert Kramer, a effectué avec une équipe réduite de techniciens et un seul acteur, Paul McIsaac. Film de retour (les deux amis reviennent dans leur pays d’origine) aussi bien que film de séparation (au cours du long-métrage, le réalisateur quitte un long moment son ami) et de retrouvailles (Kramer finit par revenir voir McIsaac) ; il s’agit avant tout d’une exploration de l’Amérique, le long du trajet que couvre la Route 1 étasunienne. </p><p style="text-align: justify;"><span style="white-space: pre;"> </span>Cependant, Kramer et Doc – personnage de militant en déclin créé pour <i>Ice</i> (1969), et réhabilité pour <i>Doc’s Kingdom</i> (1988) – reviennent aussi sur leurs propres traces : Doc lorsqu’il explique, dans une base d’entraînement militaire, sa propre formation ; Kramer lorsqu’il se rend dans une bibliothèque afin de consulter un conte pour enfant, <i>The Little Red Lighthouse and the Great Gray Bridge </i>(Hildegarde Swift, 1942) et lorsqu’il raconte sa relation avec son père. Dans plusieurs articles et entretiens, Kramer considère Doc comme son alter-ego ; ou est considéré comme tel. Mais ce qui se joue entre eux est aussi une relation fondée sur la dualité : le réalisateur n’a pas été engagé dans l’armée, il est quasi systématiquement derrière la caméra, et parle peu aux différentes personnes rencontrées ; à l’inverse de Doc. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg5wiK6RQ32UBV0B_IyyeLWRims81SVtdfAXrOsRPrF6wITXTS7sgXjdfG7efDqmH6nahRq6dB32slrWN3_utCJECrEZ4opDwLLb3RF0gyQYFZ288BqCtW62kA27ITrEGX-IFSHXF7axZBBWeN6oR8Ulh96K1C6PFhSeoFBzI6WMbeoSlH22rPPMOu_" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1803" height="192" src="https://blogger.googleusercontent.com/img/a/AVvXsEg5wiK6RQ32UBV0B_IyyeLWRims81SVtdfAXrOsRPrF6wITXTS7sgXjdfG7efDqmH6nahRq6dB32slrWN3_utCJECrEZ4opDwLLb3RF0gyQYFZ288BqCtW62kA27ITrEGX-IFSHXF7axZBBWeN6oR8Ulh96K1C6PFhSeoFBzI6WMbeoSlH22rPPMOu_" width="320" /></a></div><div style="text-align: justify;"><span style="white-space: pre;"> </span></div><div style="text-align: justify;"><span> </span>Le vocabulaire iconographique employé est aussi bien celui de la route, de la mer, du voyage et de la culture. Comme à son habitude, le cinéaste joue sur les différentes échelles de plan ; et le film, à l’image de <i>Milestones</i> (1975) et <i>Scenes from the Class Struggle in Portugal</i> (1977), comporte un grand nombre de gros plans. Les images de chaînes rouillées et les éléments liés à la navigation et au monde marin apparaissent de multiples fois. Visages et objets sont aussi représentés, presque à égalité. Panneaux publicitaires ou de signalisation sont beaucoup filmés, comme si le voyage exacerbait la volonté de Kramer de se repérer dans l’espace. Parmi les autres éléments intéressants : des boules qui tournent dans une machine de bingo, un objet amérindien traditionnel, un micro, des lattes humides, un cochon, une tortue, le drapeau d’Haïti et même le sol sont filmés de très près. </div><p></p><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgR9XdjzDmU7pKB9L0CZBeKqsCTjudwOjMvWDoFc4qNKf8y1jwD4wB9y1F_snXlLSxunbgiGaf7TIV6LuW2Il4EM5aGs0ViAGRcABHNyJCCmk3bRFW60tX59d4jiAa8jshRv1jHkK1J5geuLkzSOvDIU-ljY51o4bN9plCO6CLRR-p4tahdW6rhyXcH" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1800" height="192" src="https://blogger.googleusercontent.com/img/a/AVvXsEgR9XdjzDmU7pKB9L0CZBeKqsCTjudwOjMvWDoFc4qNKf8y1jwD4wB9y1F_snXlLSxunbgiGaf7TIV6LuW2Il4EM5aGs0ViAGRcABHNyJCCmk3bRFW60tX59d4jiAa8jshRv1jHkK1J5geuLkzSOvDIU-ljY51o4bN9plCO6CLRR-p4tahdW6rhyXcH" width="320" /></a></div></div><p style="text-align: justify;"><b>Robert Kramer, <i>X-Country ; Being a Wedding Between Us and the Farabundo Marti Liberation Front in President Monroe’s Old House</i>, long-métrage, 144 minutes, couleurs, vidéo, USA, prod. Robert Kramer, 1987</b></p><p style="text-align: justify;"><span style="white-space: pre;"> </span><i>X-Country</i> (1987) est certainement l’un des films de Robert Kramer les plus difficiles à appréhender. Moins connu que bien d’autres de ses réalisations, notamment parce que le contexte est là aussi très intime : le cinéaste nous montre un mariage et ses préparatifs. Kramer filme ainsi l’union d’une de ses amies proches, engagée politiquement et socialement, avec le chef du Front de libération Farabundo Marti, un regroupement de guérilleros salvadoriens ; dans l’ancienne maison du président américain James Monroe (1817-1825). </p><p style="text-align: justify;"><span style="white-space: pre;"> </span>Comme il l’a dit lui-même, Kramer tourne le film (en vidéo) comme un cadeau à offrir aux mariés. L’acteur Paul McIsaac, avec lequel il a plusieurs fois collaboré, prend le son. A plusieurs reprises, le réalisateur filme sa femme, Erika ; les mariés et un grand nombre d’invités ; mais aussi l’environnement qui les entourent.</p><p style="text-align: justify;"><span style="white-space: pre;"> </span>C’est après tout sa manière de prédilection de tourner qui est ici à l’œuvre : zooms, gros plans, jeu sur les échelles de plans et volonté inaltérable de montrer l’autour ; ce qui se passe en dehors de l’action principale. En effet, les images du mariage en tant qu’événement ne sont pas celles qui sont les plus présentes : Kramer s’attarde sur des fragments de conversation, sur une fontaine du jardin ou encore sur des détails historiques liés à la maison où se déroule le mariage. </p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj8b1GV-29kZdIfZa7ycyeOUPbhtEp3yhaQ_mA5tP5G4J_NaODBX9hGcPQdiCvI6S77jxQi3diO6AEAzUHzc9twmws8N_0TusQ0k10iwc_29MebfFOl_IeEFKZ8rumV59LIp8vLORy8yGO-FEBqf3RbABlx-Wnuz4AeeDtWFiQAv99TVun733VnBss0" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="991" data-original-width="1336" height="212" src="https://blogger.googleusercontent.com/img/a/AVvXsEj8b1GV-29kZdIfZa7ycyeOUPbhtEp3yhaQ_mA5tP5G4J_NaODBX9hGcPQdiCvI6S77jxQi3diO6AEAzUHzc9twmws8N_0TusQ0k10iwc_29MebfFOl_IeEFKZ8rumV59LIp8vLORy8yGO-FEBqf3RbABlx-Wnuz4AeeDtWFiQAv99TVun733VnBss0=w287-h212" width="287" /></a></div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh2_dHrqH2BfGmyD3DyIBEZZIxeTQXvBed0T165bBPbn9Bq20ed_y3UH1hmKinfBZjFKRPRKtqbiGydev7QyaXqvCTLXV__zn5B3sr40aQhfYelTV7lTYBiNUr5L1Vb7-yAfytoQtKPN41XFLFfV655ke56mueChpwOBJYZWUkJ8fkNRIR9Kdee3H7G" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="995" data-original-width="1343" height="211" src="https://blogger.googleusercontent.com/img/a/AVvXsEh2_dHrqH2BfGmyD3DyIBEZZIxeTQXvBed0T165bBPbn9Bq20ed_y3UH1hmKinfBZjFKRPRKtqbiGydev7QyaXqvCTLXV__zn5B3sr40aQhfYelTV7lTYBiNUr5L1Vb7-yAfytoQtKPN41XFLFfV655ke56mueChpwOBJYZWUkJ8fkNRIR9Kdee3H7G=w285-h211" width="285" /></a></div> <p style="text-align: justify;"><b>Robert Kramer, <i>Dear Doc</i>, court-métrage, 35 minutes 30 secondes, couleurs, vidéo, France, prod. Les Films d’ici, La Sept, 1990</b></p><p style="text-align: justify;"><span style="white-space: pre;"> </span>Court-métrage produit par Les Films d’ici (société de Richard Copans) et La Sept, <i>Dear Doc</i> (1990) sort un an après <i>Route One/USA</i>, et peut d’ailleurs aisément être défini comme un épilogue au film, voire aux trois films dans lesquels le personnage de Doc (Paul McIsaac) apparaît ; mais aussi comme un prologue à un de ses prochains films.</p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiK9zzsr_ZxKyjT9MKetUSdMTZIrTy5a7Ku4XlJg5Ki9U979iSz8nqU0u0Cw3XGi2zl_bQ_e2KFb_GF8LzHy_zfBLKraIzTQCiT4uNeYBVd2XPesfhHduhkWuQSoSMOUJOyPswmHodV8Jo29k5lJUxeYGrodYwClcuiFUOKywhN0ZMv6HLb8Na8bwtP" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1079" data-original-width="1431" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiK9zzsr_ZxKyjT9MKetUSdMTZIrTy5a7Ku4XlJg5Ki9U979iSz8nqU0u0Cw3XGi2zl_bQ_e2KFb_GF8LzHy_zfBLKraIzTQCiT4uNeYBVd2XPesfhHduhkWuQSoSMOUJOyPswmHodV8Jo29k5lJUxeYGrodYwClcuiFUOKywhN0ZMv6HLb8Na8bwtP" width="318" /><br /></a></div><span style="white-space: pre;"> </span><p></p><p style="text-align: justify;"><span> </span>Sous la forme d’une vidéolettre – les <i>Videolettres</i> échangées par Kramer avec Stephen Dwoskin sont réalisées un an plus tard – adressée à son ami l’acteur Paul McIsaac, le réalisateur exécute un film intime, composé de plans de <i>Route One/USA</i> (1989) et d’autres plans inédits, tournés pour le même film mais non utilisés lors du montage. Kramer montre aussi au spectateur les coulisses du tournage de son film-fleuve, notamment en filmant le processus de réalisation de sa musique, composée par Barre Philips et ses collègues en postproduction, et de manière spontanée : ils jouent en même temps qu’ils voient le film, en studio. </p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgKmJg50bj8C4du9-hjSqH5wRhALjLQ4S01czhuDS3oPTdFg-KGitqIMslqSjfF2QJ6EV6IfhRBtH7EyFQF4h2LQ_nH4hz3Mn9D5WrVln7UqFkI_DJWDbsCxipu5wuhIp7XzSBf_BboGUFlS4SKbyOPEPEmJWqoU5T7SBRXvhrqj5OMsjNGYw4qMbpp" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1075" data-original-width="1434" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgKmJg50bj8C4du9-hjSqH5wRhALjLQ4S01czhuDS3oPTdFg-KGitqIMslqSjfF2QJ6EV6IfhRBtH7EyFQF4h2LQ_nH4hz3Mn9D5WrVln7UqFkI_DJWDbsCxipu5wuhIp7XzSBf_BboGUFlS4SKbyOPEPEmJWqoU5T7SBRXvhrqj5OMsjNGYw4qMbpp" width="320" /></a></div><br /><p></p><p style="text-align: justify;"><span style="white-space: pre;"> </span>La voix off du cinéaste est très présente tout au long du film, qui peut se voir en définitive comme une lettre d’adieu à Doc, personnage de militant de la Nouvelle Gauche américaine devenu médecin malade et alcoolique après un séjour en Afrique, et qui a voyagé de l’Amérique à l’Europe avant de revenir dans son pays natal. Bien que Kramer n’excluait pas l’idée, dans les dernières années de sa vie, de travailler à nouveau avec Paul McIsaac pour un de ses films, il ne le fera pas ; il s’agit donc aussi du dernier témoignage de leur relation au cinéma, après pas moins de quatre films : <i>Ice </i>(1969), <i>X-Country; Being a Wedding Between Us and the Farabundo Marti Liberation Front in President Monroe’s Old House</i> (1987 ; pour lequel il prend le son) <i>Doc’s Kingdom</i> (1988) et <i>Route One/USA</i> (1989). </p><p style="text-align: justify;">Bande annonce de <i>Route One/USA</i> : </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/l7IoMpz_GhE" width="320" youtube-src-id="l7IoMpz_GhE"></iframe></div><br /><p></p><p style="text-align: justify;">-article par Baptiste Brune<br /><br />DVD/BLU-RAY DISPONIBLE ICI/AVAILABLE HERE : <a href="https://re-voir.com/shop/en/robert-kramer/1427-route-oneusa-robert-kramer.html">https://re-voir.com/shop/en/robert-kramer/1427-route-oneusa-robert-kramer.html</a><br /></p><span><a name='more'></a></span><h3><b><span style="font-family: times;"><span style="font-size: medium;">ENGLISH</span></span></b></h3><p style="text-align: justify;"><b>Robert Kramer (director, cinematographer and editor), <i>Route One/USA</i>, feature film, 255 minutes, color, Super 16mm blown up to 35, France, produced by Les Films d’Ici, La Sept (Paris), 1989 (Grand Prize at SCAM, Grand Prize at the Yamagata Festival, 1991)</b></p><p style="text-align: justify;"> Released in 1989, <i>Route One/USA</i>, as its name suggests, shows a road trip that its director, Robert Kramer, carried out with a reduced team of technicians and a single actor, Paul McIsaac. A film of returning (the two friends return to their home country) as well as a film of separation (during the film, the director leaves his friend for a long period of time) and of reunion (Kramer returns to see McIsaac); above all it is an exploration of the United States as seen from US Route 1. US Route.</p><p style="text-align: justify;">Within the film, Kramer and Doc – a character created for Kramer’s 1969 film <i>Ice </i>(1969), and rehabilitated for <i>Doc’s Kingdom </i>(1988) who is a declining militant – return to walk in their own footsteps: Doc, when he explains at a military training base, aspects of his own military training; Kramer when he goes to a library to read a children’s story, The Little Red Lighthouse and the Great Gray Bridge (Hildegarde Swift, 1942) and when he recounts his relationship with his father. In several articles and interviews, Kramer considers Doc his alter ego, but what is evident between them is also a relationship based on duality: the director was not enlisted in the army, he is almost systematically behind the camera, and speaks little to the people he meets; unlike Doc.</p><p style="text-align: justify;">The iconographic vocabulary used is that of the road, the sea, travel and culture. As usual, Kramer plays on the different shot scales; and the film, like <i>Milestones </i>(1975) and <i>Scenes From The Class Struggle In Portugal</i> (1977), features a large number of close-ups. Images of rusty chains and navigational tools and the marine world appear multiple times. Faces and objects are also represented, almost equally. Advertising and road signs are filmed often, as if the journey exacerbated Kramer’s desire to find his bearings in the constantly moving landscape. Among the other interesting elements: balls spinning in a bingo machine, a traditional Native American object, a microphone, wet slats, a pig, a turtle, the flag of Haiti, and even the ground are filmed very closely.</p><p style="text-align: justify;"><b>Robert Kramer, <i>X Country; Being A Wedding Between Us And The Farabundo Marti Liberation Front In President Monroe’s Old House</i>, feature film, 144 minutes, color, video, USA, prod. Robert Kramer, 1987 </b></p><p style="text-align: justify;"> <i>X-Country</i> (1987) is certainly one of Robert Kramer’s most difficult films to grasp. Lesser known than his other productions, in particular because the context is also very intimate, the filmmaker shows us a wedding and its preparations. Kramer films the union of one of his closest friends, who is politically and socially engaged with the leader of the Farabundo Marti Liberation Front, a group of Salvadoran guerrillas; in the home of former US President James Monroe (1817-1825).</p><p style="text-align: justify;">As he notes himself, Kramer shoots the film (on video) as a gift for the bride and groom. Actor Paul McIsaac, with whom Kramer had collaborated several times, takes on the sound production. On several occasions, the director films his wife, Erika; the bride and groom and a large number of guests; but also the surrounding environment. Kramer’s preferred way of filming is present: zooms, close-ups, playing with the scale of shots and the unalterable desire to show the surroundings; the often overlooked other world of what happens outside of the main action. The images of the wedding itself are not what is most present: Kramer dwells on fragments of conversation, on a fountain in the garden, or even on historical details of the venue. </p><div style="text-align: justify;"><div><b>Robert Kramer, <i>Dear Doc</i>, short film, 35 minutes 30 seconds, colors, video, France, prod. Local Films, La Sept, 1990</b></div><div><br /></div><div> A short film produced by Les Films d’Ici (Richard Copans’ company) and La Sept, <i>Dear Doc</i> (1990) was released a year after <i>Route One/USA</i>, and can easily be defined as an epilogue to that film, or even to the three films in which the character of Doc (Paul McIsaac) appears; it also functions as a prologue to one of Kramer’s next films.</div><div><br /></div><div>In the form of a videoletter – The Videoletters exchanged between Kramer and Stephen Dwoskin were made a year later – addressed to his friend the actor Paul McIsaac, the director makes an intimate film made up of unseen and unused shots from <i>Route One/USA</i> (1989). </div><div><br /></div><div>Kramer also shows the viewer behind the scenes of filming: in particular, he shows the production process of its music, composed by Barre Philips and his colleagues in post-production. The filmmaker’s voice-over is very present throughout the film, which can ultimately be seen as a farewell letter to Doc, his alter ego. Doc, an American New Left militant character who becomes a sick and alcoholic doctor after a stay in Africa, traveled from America to Europe before returning to his native country. </div><div><br /></div><div>Although Kramer did not rule out the idea in the last years of his life of working again with Paul McIsaac, he did not; it is therefore also the final testimony to their relationship with) cinema, after working on no less than four films together : <i>Ice </i>(1969), <i>X-Country; Being a Wedding Between Us and the Farabundo Marti Liberation Front in President Monroe’s Old House</i> (1987; for which McIsaac worked on the sound) <i>Doc’s Kingdom </i>(1988) and <i>Route One/USA</i> (1989).<br /><br />-article by Baptiste Brune<br /></div></div>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-76796390128699413322022-06-09T08:00:00.026-07:002022-06-09T08:00:00.168-07:00Jonas Mekas - Collectors' BOXSET "Diaries Notes and Sketches"<h1 style="text-align: center;"></h1><h1 style="text-align: left;"></h1><h1 style="text-align: center;"><a href="https://re-voir.com/shop/en/jonas-mekas-dvd/1423-blu-ray-jonas-mekas-diaries-notes-sketches-vol-1-8-blu-ray-boxset.html" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="769" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvkXp0Eztsd7VvZhXSXkL3KOlTM8x0ay7gEwRHuKCfO6R7ttQdhbz-7WBKhg6bwv4ai3E7mUBIpHRwa7yZf9GsHXPoFqhTboh0vXQc0TRv4mgN0QvL0r-Ugs-HflElfzZ_HfHmeZ8to5i-mdEBxZHIrzvihbyfolLXeH_4pd047hSlqXI_xW_L-Sxl/s320/Revoir_Jonas-Mekas_Diaries_box-strip-V2_light.jpg" width="246" /></a><a href="https://re-voir.com/shop/en/jonas-mekas-dvd/1424-dvd-jonas-mekas-diaries-notes-sketches-vol-1-8-dvd-boxset.html" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1001" data-original-width="770" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHF47mhEI2en45B_rZY7P1uop9XkgGk4PCzdPFyaHZhR3OGR23muR5iiVjAwvb5JBNkDXCpMNC_TpcPFJbM8rk1o-Zw2qBVa1HZdSBTekWFg8wWI9c1lRrLt7kRhLentlzgiHht-RuzlHghmVh0RL7tLQbw3LJ16mVhhBsuLvXVTsvk6M8XaK6wv7Z/s320/Revoir_Jonas-Mekas_Diaries_box_light.jpg" width="246" /></a></h1><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="345" src="https://www.youtube.com/embed/eWrfVoHHvIo" width="496" youtube-src-id="eWrfVoHHvIo"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">This boxset brings together the “diary films” of Jonas Mekas (1922-2019). </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Mekas perfected a poetic, personal technique of filming his daily life in short bursts, with no plan or script, as one would write when taking notes or keeping a diary. He filmed a little bit every day, collecting his many 100-foot rolls (2’30”), occasionally pausing to edit them together, selecting rolls, sequences or fragments to make films that reflect different periods of his life: New York in the 1950s with its immigrant communities of displaced persons; the 60s avant-garde art scene; his brief bittersweet returns to Lithuania and other journeys. As time slips by, his family life, his friends and the simple observations of life are captured, leaving their physical trace on film, a new reality of images. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Originally, Mekas thought of his grand project as one long film, Diaries Notes and Sketches, in which each part would be a chapter. Walden was the first part to be edited together, while Lost Lost Lost, filmed during the fifteen years that preceded it, wouldn’t be completed for another seven years. But because the film labs kept confusing all these different films that had the same name, Jonas abandoned the idea and gave each film their own respective title. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">We chose to start volume 1 with Walden (shot 1964-1968 and edited in 1969) followed by Lost Lost Lost (filmed 1949-1963 and edited in 1976). We then associated Reminiscences of a Journey to Lithuania (shot and edited in 1971) with Paradise Not Yet Lost (shot in 1977 and edited in 1979). Volume 4 is a series of short and medium-length films shot “in between” the others, 1963-1967, and edited through 1978. Volume 5 consists of a quartet of portraits of art friends (Andy Warhol, George Maciunas, Yoko Ono et John Lennon, Peter Beard and the family of John F. Kennedy), all shot in the 1960s and 1970s and edited in the 1990s. Volume 6 brings together short films and videos from his later period, 1991-2015, his more personal reflections on his life, on art and on his city of New York. Volumes 7 and 8 are devoted to his longest film (shot 1974-1999 and edited in 2000), As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, an epic poem about his family life during the past quarter century. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">The video elements included on these discs are taken from the latest high-quality transfers of the most pristine film prints available. Many of these films are previously unpublished in video format. Included are special gifts to complement the films and to enhance your home viewing pleasure.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">BOXSET CONTENTS : </div><div class="separator" style="clear: both; text-align: left;">EVERY FRAME EVERY SECOND IS REAL : AN ORIGINAL STRIP OF A JONAS MEKAS FILM PRINT </div><div class="separator" style="clear: both; text-align: left;">24 POSTCARDS </div><div class="separator" style="clear: both; text-align: left;">BOOK OF TEXTS BY JONAS MEKAS ABOUT THE FILMS </div><div class="separator" style="clear: both; text-align: left;">8 Blu-Ray / DVD discs = 27 FILMS</div><div class="separator" style="clear: both; text-align: left;"><br /></div></div></div><p style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSSRW7xk5IXICb35g5gg2lg9uYmr7hqtE_cBzqJSssuBKbDWPzI6Um5hy2XeaE3OevUDmnJz0IngjKez7fUe4icdtyG1gwqFvo8NJ_TgnXud4pNiBx-E_6_8EZ5kyN5WKCPGMnSbA0g1qmLTqS3kADqEjclfRe4uIyYTxKZVWvgkDfmgDRi0rOLPGa/s1000/Revoir_Jonas-Mekas_Diaries_insideA_light.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1000" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSSRW7xk5IXICb35g5gg2lg9uYmr7hqtE_cBzqJSssuBKbDWPzI6Um5hy2XeaE3OevUDmnJz0IngjKez7fUe4icdtyG1gwqFvo8NJ_TgnXud4pNiBx-E_6_8EZ5kyN5WKCPGMnSbA0g1qmLTqS3kADqEjclfRe4uIyYTxKZVWvgkDfmgDRi0rOLPGa/w400-h265/Revoir_Jonas-Mekas_Diaries_insideA_light.jpg" width="400" /><br /></a></p><p style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOuRuWw6fMgVeR8x7MZuNW7EsZCXTtXrkDh4o5JP1CLkJ765EYugSCcNGBKm1NMR_uy8ovWIVTgtnSdAEbWVfO0vt8JXM26bRpuUIj2L1twJLjYlnMEIO0Ur0U6bZ6WChvvYdM-P7YC3fzFnYiwdSSqmTB_9F_6F1Y64DUUL6sebkhIhdeyWCWrqm_/s1000/Revoir_Jonas-Mekas_Diaries_insideB_light.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOuRuWw6fMgVeR8x7MZuNW7EsZCXTtXrkDh4o5JP1CLkJ765EYugSCcNGBKm1NMR_uy8ovWIVTgtnSdAEbWVfO0vt8JXM26bRpuUIj2L1twJLjYlnMEIO0Ur0U6bZ6WChvvYdM-P7YC3fzFnYiwdSSqmTB_9F_6F1Y64DUUL6sebkhIhdeyWCWrqm_/w400-h266/Revoir_Jonas-Mekas_Diaries_insideB_light.jpg" width="400" /></a><br /></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span face=""Helvetica Neue", Helvetica, Arial, sans-serif" style="background-color: white; text-align: start;"></span></div></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP8FzxY0amwO6Zlmhb3vd41wub45D_7S4BB7OwQNlDRQorIY_yJetSHCXyLKa7C26ADgtkxMZ5kVpuvy9UOOCXSUKURRai61r5u3SYVDEGZZtE3-BzILuz-HaUZtPB9wiLM5GtIbN3LYh82ewllINRHVtaiY60BoCOzAPPdd1AnRpJWhA4_dQVNox9/s1000/Revoir_Jonas-Mekas_Diaries_inside_light.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="605" data-original-width="1000" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP8FzxY0amwO6Zlmhb3vd41wub45D_7S4BB7OwQNlDRQorIY_yJetSHCXyLKa7C26ADgtkxMZ5kVpuvy9UOOCXSUKURRai61r5u3SYVDEGZZtE3-BzILuz-HaUZtPB9wiLM5GtIbN3LYh82ewllINRHVtaiY60BoCOzAPPdd1AnRpJWhA4_dQVNox9/w400-h243/Revoir_Jonas-Mekas_Diaries_inside_light.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><br class="Apple-interchange-newline" />Features 27 films on 8 discs/volumes : </div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><div style="caret-color: rgb(0, 0, 0); font-family: Helvetica; font-size: 18px; text-align: start; text-size-adjust: auto;"><span class="oo9gr5id qv66sw1b mau55g9w aigsh9s9 iv3no6db fe6kdd0r c8b282yb hpfvmrgz nxhoafnm hzawbc8m jq4qci2q ht8s03o8 ik7dh3pa a8c37x1j d3f4x2em b1v8xokw keod5gw0 oi732d6d c1et5uql d2edcug0 a3bd9o3v" dir="auto"><div class="cxmmr5t8 oygrvhab ii04i59q o9v6fnle c1et5uql hcukyx3x"><div dir="auto">VOL.01/8 : WALDEN</div></div><div class="cxmmr5t8 oygrvhab ii04i59q o9v6fnle c1et5uql hcukyx3x"><div dir="auto">VOL.02/8 : LOST LOST LOST</div><div dir="auto"><br /></div></div><div class="cxmmr5t8 oygrvhab ii04i59q o9v6fnle c1et5uql hcukyx3x"><div dir="auto">VOL.03/8 : 9 films</div><div dir="auto">1. AWARD PRESENTATION TO ANDY WARHOL</div><div dir="auto">2. FILM MAGAZINE OF THE ARTS</div><div dir="auto">3. CASSIS</div><div dir="auto">4. HARE KRISHNA</div><div dir="auto">5. NOTES ON THE CIRCUS</div><div dir="auto">6. REPORT FROM MILLBROOK</div><div dir="auto">7. TRAVEL SONGS</div><div dir="auto">8. IN BETWEEN</div><div dir="auto">9. NOTES FOR JEROME</div><div dir="auto"><br /></div></div><div class="cxmmr5t8 oygrvhab ii04i59q o9v6fnle c1et5uql hcukyx3x"><div dir="auto">VOL.04/8 : 2 films</div><div dir="auto">1. REMINISCENCES OF A JOURNEY TO LITHUANIA</div><div dir="auto">2. PARADISE NOT YET LOST</div><div dir="auto"><br /></div></div><div class="cxmmr5t8 oygrvhab ii04i59q o9v6fnle c1et5uql hcukyx3x"><div dir="auto">VOL.05/8 : 4 films</div><div dir="auto">1. SCENES FROM THE LIFE OF ANDY WARHOL</div><div dir="auto">2. ZEFIRO TORNA</div><div dir="auto">3. HAPPY BIRTHDAY TO JOHN</div><div dir="auto">4. THIS SIDE OF PARADISE</div><div dir="auto"><br /></div></div><div class="cxmmr5t8 oygrvhab ii04i59q o9v6fnle c1et5uql hcukyx3x"><div dir="auto">VOL.06/8 : 9 films</div><div dir="auto">1. OUT-TAKES FROM THE LIFE OF A HAPPY MAN</div><div dir="auto">2. QUARTET #1</div><div dir="auto">3. CINEMA IS NOT 100 YEARS OLD</div><div dir="auto">4. SONG OF AVIGNON</div><div dir="auto">5. EIN MÄRCHEN AUS ALTEN ZEITEN</div><div dir="auto">6. LETTER TO PENNY ARCADE</div><div dir="auto">7. WILLIAMSBURG, BROOKLYN</div><div dir="auto">8. SILENCE PLEASE</div><div dir="auto">9. MY BOLEXES</div><div dir="auto"><br /></div></div><div class="cxmmr5t8 oygrvhab ii04i59q o9v6fnle c1et5uql hcukyx3x"><div dir="auto">VOL.07/8 : AS I WAS MOVING AHEAD OCCASIONALLY I SAW BRIEF GLIMPSES OF BEAUTY</div><div dir="auto">REELS 1-6</div><div dir="auto"><br /></div></div><div class="cxmmr5t8 oygrvhab ii04i59q o9v6fnle c1et5uql hcukyx3x"><div dir="auto">VOL.08/8 : AS I WAS MOVING AHEAD OCCASIONALLY I SAW BRIEF GLIMPSES OF BEAUTY</div><div dir="auto">REELS 7-12</div><div><br /></div></div></span></div></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"> Available June 10th, 2022 www.re-voir.com</div></div><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMGeACGCEfSMp4BIfdh6hsmQgR6Okowtf_PkpGvwcglJf-hQ8SE0KnpTe3LWgsyQHGEg0xdMJxSPC2zx4NwHGQLdkCihYZnLaA6CdsiCkuxOoalfBJ9pS_vDBQ1sOJEX7mHWJnmOU_Qt5SD40zUmxZcXimDtI2f8YxqPTRtsx_-dulGfODJHycZ-P4/s1637/Revoir_Jonas-Mekas_Diaries_box-side_light.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1637" data-original-width="1023" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMGeACGCEfSMp4BIfdh6hsmQgR6Okowtf_PkpGvwcglJf-hQ8SE0KnpTe3LWgsyQHGEg0xdMJxSPC2zx4NwHGQLdkCihYZnLaA6CdsiCkuxOoalfBJ9pS_vDBQ1sOJEX7mHWJnmOU_Qt5SD40zUmxZcXimDtI2f8YxqPTRtsx_-dulGfODJHycZ-P4/s320/Revoir_Jonas-Mekas_Diaries_box-side_light.jpg" width="200" /></a></div><br /><p></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comParis, France48.856614 2.352221920.546380163821155 -32.8040281 77.166847836178846 37.5084719tag:blogger.com,1999:blog-6781798351729906355.post-33817811361528651812021-12-13T11:07:00.002-08:002021-12-13T11:07:41.984-08:00DVD Dore O.: Figures of Absence<p><span style="font-family: times;"> FRANÇAIS (English version below)</span>
</p><p align="justify" lang="fr-FR" style="line-height: 100%; margin-bottom: 0in;"><span style="font-family: times;"></span></p><blockquote>
“Si le cinéma n’est pas fait pour
traduire les rêves ou tout ce qui se montre allié au domaine des
rêves, alors il n’existe pas de cinéma.” (Dore O.)</blockquote><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7JXsYb_627xvzjRPkzcLJEXpLsPPxHDiJmKRnOq6id0ToaVEzk2p33fys8pPodaPm5tU4eyR2AVNXMLwxJpkPxbDsefDZEPnACuaM5rIU5MpAFpxUtFAmkh7Nl-us-7Ckp-AnHkFww3Y/s799/dore-o-figures-of-absence.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="799" data-original-width="566" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7JXsYb_627xvzjRPkzcLJEXpLsPPxHDiJmKRnOq6id0ToaVEzk2p33fys8pPodaPm5tU4eyR2AVNXMLwxJpkPxbDsefDZEPnACuaM5rIU5MpAFpxUtFAmkh7Nl-us-7Ckp-AnHkFww3Y/s320/dore-o-figures-of-absence.jpg" width="227" /></a></div><p></p><span style="font-family: times;">
</span><p align="justify" lang="fr-FR" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: times;"> <span> </span>Les films de Dore O. réunis dans ce DVD
édité par Re:Voir se présentent comme des expériences
sensorielles et oniriques aux spectateurs. Ces films se détournent
d’un régime de signification symbolique ou univoque, au profit
d’une composition minutieuse qui conduit le spectateur vers un état
intermédiaire entre l’éveil et le rêve. </span>
</p><span style="font-family: times;">
</span><span style="font-family: times;">
</span><p align="justify" lang="fr-FR" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: times;"><i><span> </span>Alaska </i>(1968) est construit sur la
répétition et l’alternance de plusieurs motifs principaux: la
composition rigide de l’architecture d’une prison, l’océan et
le déferlement répétitif des vagues sur la plage, des plans flous
d’une femme perdue dans le fond du champ et qui cherche à s’en
échapper... La composition du film repose ainsi sur un jeu entre
différences et répétitions, qui construit au fur et à mesure une
ritournelle hypnotisante pour le spectateur. Les films de Dore O. se
rapprochent ainsi de la substance même du rêve : en dissolvant
la narration dans la répétition des motifs, ils s’éloignent
d’une logique rationnelle qui ferait du rêve une simple succession
d’images symboliques à décoder. Si les motifs d’<i>Alaska</i>
peuvent créer progressivement une sensation d’enfermement et de suffocation, l’étrange beauté qui se dégage du film dépasse
toujours l’interprétation univoque qu’on peut en faire. La
subtilité du cinéma de Dore O. est de déjouer la bipartition entre
rêve éthéré et cauchemar. Dore O. s’inscrit ainsi dans la
lignée de Maya Deren, à travers un cinéma qui ne se laisse pas
réduire à une interprétation verbale, car les films parlent
d’eux-mêmes à travers l’expérience onirique et sensible qu'en font les spectateurs. </span></p><p align="justify" lang="fr-FR" style="line-height: 100%; margin-bottom: 0in;"><span style="font-family: times;"> </span></p><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="575" data-original-width="786" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsW8_BL0zaFZ8SQwIz4O-ZUpkHX02_to6s-jnw-Yl5D5JQNqmQspx_46nKv6guHoWbQYagfoorARYG7UWC7dhhkrOuD1WaXM-9NgbWPrzAZWzYvKJ4iTf4DY_J40IfTUYpicfJyooCguQ/w243-h177/vlcsnap-2021-12-01-15h44m01s208.png" width="243" /> <img border="0" data-original-height="576" data-original-width="788" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwELHzMyjoLZUapRZCeaYnjeQyDyMTjhng9EnBKGAOg56JJ6S_eAIc-yhFL9E20FGGNEZmxBT6RLrJYJtJkrsBR9f1TSHFiQeMERXjx8u3GcJ7qS8tHs5V-AqVQcJFdHbKTQcP3z86nd4/w243-h178/vlcsnap-2021-12-01-15h43m45s32.png" width="243" /></div><span style="font-family: times;"></span><span style="font-family: times;"></span><span style="font-family: times;"><br /></span><p></p><span style="font-family: times;">
</span><span style="font-family: times;">
</span><p align="justify" lang="fr-FR" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: times;"> <span> </span>Cette grande subtilité dans la manière
d’appréhender l’expérience du rêve repose sur une maîtrise
très précise des procédés formels. La composition d’<i>Alaska</i>
en est exemplaire : au début du film, les motifs se répètent
dans le respect du réalisme de l’image cinématographique, cette
répétition hypnotisante amène peu à peu le spectateur vers un
état entre l’éveil et le rêve. Puis, des images à la beauté
saisissante apparaissent, comme l’image d’une femme immergée
dans l’eau surimprimée sur des plans de vagues. Cette apparition
tardive permet de déployer la pleine puissance onirique de l’image ;
elle n’est pas seulement appréhendée par un jugement esthétique,
mais elle fait saillie pour le spectateur en s’inscrivant au coeur
d’une expérience hypnotique. Chez Dore O., les
procédés techniques ne servent pas simplement à créer de belles
images, mais ils créent des heurts dans notre expérience
perceptive. Dans <i>Alaska</i>, le plan sur le déferlement des
vagues est retourné et le défilement de la pellicule inversé. La
technique permet alors de créer une image paradoxale entre mobilité
et immobilité, où l’eau est en mouvement mais ne déferle plus
sur la plage. Dans <i>Kaskara</i> (1974), le jeu permanent entre les
surimpressions et les reflets des vitres, ainsi qu’entre les
mouvements panoramiques de la caméra et le mouvement d’ouverture
des fenêtres, crée une indécision dans notre perception de
l’image. La silhouette de Werner Nekes est comme perdue dans un
labyrinthe de miroirs, qui nous rend incapable de distinguer les
surimpressions des reflets sur les vitres, créant ainsi une image
hallucinatoire entre le virtuel et l’actuel. Dore O. adapte le
procédé technique à la nature et aux propriétés visuelles de l’objet filmé, afin de nous défamiliariser dans notre
expérience perceptive du réel. </span></p><p align="justify" lang="fr-FR" style="line-height: 100%; margin-bottom: 0in;"><span style="font-family: times;"> </span></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIlkXmiOKmagqbr6pqivnpmp54YgZjGvx32uGEpWvH3zmCU50XCe4LX9M911e_jdrL45p5OSqT8QaBReqpVOlxdcRGU-yCrxQBH1W-i4JurYVRCdp_l6jNj_LOdMQ0ALopMnGH70Lt02I/s789/vlcsnap-2021-12-01-15h05m57s54.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="789" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIlkXmiOKmagqbr6pqivnpmp54YgZjGvx32uGEpWvH3zmCU50XCe4LX9M911e_jdrL45p5OSqT8QaBReqpVOlxdcRGU-yCrxQBH1W-i4JurYVRCdp_l6jNj_LOdMQ0ALopMnGH70Lt02I/w263-h192/vlcsnap-2021-12-01-15h05m57s54.png" width="263" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSq0N75kubDJ-QH7e0PTv9eKEjmHvsTRJxD4qi4U523ahVPEkwsf4XHeqv5_GJH7fFSdWew66JERvHCh-HeIimWBX3JbQyjrwJkVT4MDYhhlL-Z2MylFnhdXzWItxskHFAcfFHkci9EL0/s787/vlcsnap-2021-12-01-14h13m34s192.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="787" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSq0N75kubDJ-QH7e0PTv9eKEjmHvsTRJxD4qi4U523ahVPEkwsf4XHeqv5_GJH7fFSdWew66JERvHCh-HeIimWBX3JbQyjrwJkVT4MDYhhlL-Z2MylFnhdXzWItxskHFAcfFHkci9EL0/w263-h192/vlcsnap-2021-12-01-14h13m34s192.png" width="263" /></a></div></div><div style="text-align: center;"><i>Alaska<span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Kaskara</i><br /></div><div><p align="justify" lang="fr-FR" style="line-height: 100%; margin-bottom: 0in;"><span style="font-family: times;">
</span></p><p align="justify" lang="fr-FR" style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: times;"><span> </span>Comme l’évoque Masha Matzke dans un texte
édité dans le livret accompagnant le DVD, le cinéma de Dore O. a
été mal reçu par ses contemporains. On lui a reprochée de faire un
cinéma trop personnel, qui se détourne de questions politiques de
fond au profit d’une élaboration formelle creuse. Mais cela mérite
d’être remis en question. Si les questions politiques ne sont pas
abordées comme l’objet d’un discours militant, elles hantent les
films, à l’image des images d’archive représentant des peuples
autochtones dans <i>Alaska</i>, qui ne cessent d’être convoquées
tout au long du film. Dans <i>Lawale</i> (1969), les personnages tiennent
des poses, et demeurent immobiles dans les différentes pièces d’une
maison. Ils semblent former une famille, et ces poses représentent
autant de rituels et d’habitudes qui composent le quotidien
domestique. Cette immobilité renforce notre perception des
tremblements des personnages et de leurs respirations ; ils
paraissent suffoquer dans l’ennui du quotidien, et cette atmosphère
pesante est renforcée par une musique dissonante. Le confort
matériel de cette maison bourgeoise semble alors rompre les rapports
entre des individus réduits à répéter mécaniquement des
cérémonies familiales. <i>Frozen Flashes</i> (1976) s’inscrit dans la
continuité de <i>Lawale</i>. Cette fois-ci, c’est l’image
elle-même qui est immobile. <span style="font-style: normal;">Le film
se concentre davantage sur une figure féminine</span>, qui nous est
montrée en train d’effectuer diverses tâches domestiques. Un
mouvement est créé grâce au changement graduel de la valeur
d’exposition des photogrammes. Celui-ci produit parfois des
ruptures fortes, en faisant osciller l’image entre un noir presque
complet et une surexposition aveuglante. Cette variation lumineuse
fait pression sur l’image. Les tâches domestiques apparaissent
comme d’autant plus aliénantes pour le personnage, qu’il semble
captif de sa propre image et immobilisé dans ses propres mouvements.
La question de l’aliénation domestique n’est pas traitée selon
une logique pamphlétaire et discursive, mais cette condition est
travaillée figurativement par le film. Ainsi, les sujets abordés par le
cinéma de Dore O. ne sont jamais traités comme des objets
clairement identifiables, mais ils apparaissent comme le retour du
refoulé au sein d’une expérience onirique. Chaque nouvelle vision
de ses films est alors l’occasion de découvrir de nouvelles
dimensions de son cinéma.</span></p><p align="justify" lang="fr-FR" style="line-height: 100%; margin-bottom: 0in;"><span style="font-family: times;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU_L9BAoDFsaW_da11Oh9zJe3bx6lI_U_eblQpt_aXsJ4tiMniYdXcJpEVrER1130AVomoCZM5GKdN4qlPlFCuWm9HoyAVvC9AyBU7wNUqAt529WbS_QuDEbqa0aP8LkGIeCVvQIVRY2g/s789/vlcsnap-2021-12-01-16h27m23s75.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="789" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3_w1jI_FwI_OlnABlaBD4XkK2zhfvEWDq2qb8X0D4oivvGRdtnh4pJDl-xclH1K19t1mXaDOf7MUBAf6qF2hcJDIs7Md99tyH6cOCx_YATFQC-81zYxFXFPnIA1KsjlmqRIEV6DskGjg/w263-h192/vlcsnap-2021-12-01-15h04m39s136.png" width="263" /> <img border="0" data-original-height="576" data-original-width="789" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU_L9BAoDFsaW_da11Oh9zJe3bx6lI_U_eblQpt_aXsJ4tiMniYdXcJpEVrER1130AVomoCZM5GKdN4qlPlFCuWm9HoyAVvC9AyBU7wNUqAt529WbS_QuDEbqa0aP8LkGIeCVvQIVRY2g/w265-h193/vlcsnap-2021-12-01-16h27m23s75.png" width="265" /></a></span></div><p></p><p lang="fr-FR" style="line-height: 100%; margin-bottom: 0in; text-align: center;"><span style="font-family: times;"><i> Lawale Frozen Flashes</i><br /></span></p>
<p align="justify" lang="fr-FR" style="line-height: 100%; margin-bottom: 0in;"><span style="font-family: times;"><style type="text/css">p { margin-bottom: 0.1in; line-height: 115%; background: transparent }</style> </span></p><p lang="fr-FR" style="line-height: 100%; margin-bottom: 0in; text-align: center;"><span style="font-family: times;"><b><span style="text-decoration: underline;">FILMS</span></b></span></p><p lang="fr-FR" style="line-height: 100%; margin-bottom: 0in; text-align: center;"><span style="font-family: times;">ALASKA 1968, 18min<br />LAWALE 1969, 30min<br />KALDALON 1970-71, 44min<br />BLONDE BARBAREI 1972, 25min<br />KASKARA 1974, 21min<br />FROZEN FLASHES 1976, 30min (silent) </span></p><p lang="fr-FR" style="line-height: 100%; margin-bottom: 0in; text-align: center;"><span style="font-family: times;"> Édition accompagnée d'un livret bilingue</span></p><p lang="fr-FR" style="line-height: 100%; margin-bottom: 0in; text-align: center;"><span style="font-family: times;">Disponible depuis le 11 novembre 2021/ DVD available here: https://bit.ly/3G5BAgU</span></p><p lang="fr-FR" style="line-height: 100%; margin-bottom: 0in; text-align: left;"><span style="font-family: times;"> </span></p><p lang="fr-FR" style="line-height: 100%; margin-bottom: 0in; text-align: left;"><span style="font-family: times;">- Robin Vaz </span></p><p lang="fr-FR" style="line-height: 100%; margin-bottom: 0in; text-align: left;"><span style="font-family: times;"><br /></span></p><p lang="fr-FR" style="line-height: 100%; margin-bottom: 0in; text-align: left;"><span style="font-family: times;">“If cinema isn’t made to translate dreams or anything related to the realm of dreams, then there is no such thing as cinema.” (Dore O.)<br /><br /> The films of Dore O. included on the new DVD edited by Re:Voir are presented </span><span style="font-family: times;">to the spectators </span><span style="font-family: times;">as sensory and dreamlike experiences. These films turn away from a regime of symbolic or explicit meaning, in favor of a meticulous composition that leads the viewer to an intermediate state between wakefulness and dreaming.<br /><br /> <i> Alaska</i> (1968) is built on the repetition and alternation of several main motifs: the rigid composition of the architecture of a prison, the ocean with the repetitive breaking of waves on a beach and blurred shots of a woman lost in a field, trying to escape. It's composition is thus based on a game between differences and repetitions, which gradually creates a kind of hypnotizing ritual for the viewer. Dore O.'s films thus come closer to the very substance of dreams. By dissolving the narrative in the repetition of these motifs, her films move us away from a rational logic that would make the dream a simple succession of symbolic images to be decoded. While the motifs in </span><i><span style="font-family: times;">Alaska</span></i><span style="font-family: times;"> can gradually create a feeling of confinement and suffocation, the strange beauty that emerges from the film goes beyond the unequivocal interpretation that one can make of it. The subtlety of Dore O.'s cinema is to thwart the bipartition between ethereal dream and nightmare. Dore O.'s work is thus in line with Maya Deren's, cinema that cannot be reduced to a verbal interpretation, because the films speak for themselves through the</span><span style="font-family: times;"> viewers </span><span style="font-family: times;">dreamlike and sensitive experience of them.<br /><span> </span>This great subtlety in the way of approaching the dream experience is based on a very precise mastery of formal procedures. The composition of <i>Alaska</i> is exemplary. At the beginning of the film, the motifs are repeated with respect for the realism of the cinematographic image. This hypnotizing repetition gradually brings the viewer into a state between waking and dreaming. Then strikingly beautiful images appear, such as the image of a woman submerged in water superimposed on a background image of waves. The late appearance of these images allows the full dreamlike power of the image to be deployed. The timing not only follows a specific aesthetic choice, but is expressly intended to make these images stand out to the viewer to help inscribing themselves at the heart of a hypnotic experience. With Dore O., technical processes are not just used to create beautiful images, but they create clashes in our perceptual experience. In <i>Alaska</i>, the shot of the crashing waves is flipped and the roll of film is reversed. This technique makes it possible to create a paradoxical image between mobility and immobility, where the water is in motion, but no longer breaks on the beach. In <i>Kaskara</i> (1974), the constant play between superimpositions and reflections of the glass, as well as between the panning movements of the camera and the opening movement of the windows, creates an indecision in our perception of the image. The silhouette of Werner Nekes is as if lost in a labyrinth of mirrors, which makes us unable to distinguish the superimposed reflections on the windows, thus creating a hallucinatory image between the virtual and the actual. Dore O. adapts these technical process to the nature and visual properties of the filmed object, in order to defamiliarize us in our perceptual experience of reality.<br /><br /> As Masha Matzke points out in a text published in the booklet accompanying the DVD, Dore O.'s cinema was poorly received by her contemporaries. She has been criticized for making films that are too personal, which shy away from substantive political questions in favor of empty formal elaboration. But this deserves to be questioned. If political questions are not here dealt with as the object of militant discourse, they haunt the films, like the archival images of indigenous peoples in <i>Alaska</i>, who are continually summoned throughout the film. In <i>Lawale</i> (1969), the characters hold poses, and remain motionless in the different rooms of a house. They seem to form a family, and these poses represent so many rituals and habits that make up daily domestic life. This immobility strengthens our perception of the characters' subtle movements and their breathing. They seem to suffocate in the boredom of everyday life, and this heavy atmosphere is reinforced by the accompanying dissonant music. The material comfort of this bourgeois house then seems to break the relationship between individuals reduced to mechanically repeating family ceremonies. <i>Frozen Flashes</i> (1976) follows on from <i>Lawale</i>. This time it is the image itself that is still. The film focuses more on a female figure, who is shown to us performing various household chores. Movement is created by gradually changing the exposure of the frames. This sometimes produces strong breaks, causing the image to oscillate between almost complete black and blinding overexposure. This variation in light puts pressure on the image. Domestic chores appear to be all the more alienating for the character, as she appears to be </span><span style="font-family: times;">immobilized and </span><span style="font-family: times;">captive to her own image. The question of domestic alienation is not treated here with a sarcastic or discursive logic, but instead this idea is worked on figuratively by the film. Thus, the subjects addressed by Dore O.'s cinema are never treated as clearly identifiable objects, but they appear as the return of the repressed within a dreamlike experience. Each new viewing of her films is then an opportunity to discover new and different dimensions of her oeuvre.</span>
</p><span style="font-family: times;">
</span><p><style type="text/css"><span style="font-family: times;">p { margin-bottom: 0.1in; line-height: 115%; background: transparent }</span></style></p></div>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-31927179092960471962021-11-24T04:56:00.008-08:002021-11-29T02:48:39.446-08:00DVD Werner von Mutzenbecher : Film is a Mystery<div><p style="text-align: justify;">
<span></span></p><div class="separator" style="clear: both; text-align: center;"><span></span></div><div class="separator" style="clear: both; text-align: center;"><span> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span></span></div><div class="separator" style="clear: both; text-align: center;"><span></span></div><div class="separator" style="clear: both; text-align: center;"><span><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJpmpwMCubu-sn7kkN7Grl6SWuO_RUemQL2gVpRjqZevIWFJX_lDXx3VZG1WI0lQ7cG7kH9Bx02Kzm5R-7CCA9oMIdncsNeSfWAQxTNlV_vOCKmUkJZgl7h9oRoRTK9FUzyOqMz3dl_2I/s320/werner-von-mutzenecher-film-is-a-mystery.jpg" width="320" /></span></div><span><u>FRANÇAIS</u><br />( text in English below)<br /></span><p></p><p style="text-align: justify;"><span> </span>Ce corpus de dix-huit court-métrages couvre cinquante années de la production artistique de Werner von Mutzenbecher. De <i>Dinge</i> (1968) à <i>Personae (Drei Generationen) </i>(2017), cette sélection permet d’appréhender la grande diversité de l’exploration cinématographique de l’artiste. Si l’activité première de Werner von Mutzenbecher est la peinture, sa filmographie composée d’une centaine de films en 8mm, super 8, 16mm ou vidéo témoigne d’une grande sensibilité à la singularité du médium cinématographique. Ces dix-huit films forment un ensemble protéiforme; la maîtrise formelle de certains de ces films peut évoquer le cinéma structurel, tandis que d’autres semblent davantage suivre une logique spontanée, à la manière du cinéma diariste. Chez Mutzenbecher, la maîtrise formelle n’est jamais contradictoire avec une forme de subjectivité, de lyrisme et de poésie. </p><p style="text-align: justify;"><span> </span> A travers chacun de ces films, l’artiste cherche à explorer toutes les potentialités de l’image cinématographique. Dans <i>Movimenti</i> (1990), la caméra fixe est positionnée face à un mur blanc ; un homme entre et sort du plan. Chaque nouvelle apparition est l’occasion de surprendre le spectateur ; l’échelle du plan ne cesse de se modifier, et le côté par lequel l’homme entre dans le cadre est toujours imprévisible. Dans la simplicité de cette structure formelle, Mutzenbecher délivre en quelques minutes une étude sur le mouvement d’un corps et une réflexion sur le champ et le hors-champ. Dans <i>Objekte (Flickerfilm)</i> (2017), c’est à l’oscillation lumineuse propre au dispositif cinématographique que s’intéresse l’artiste. Le film alterne des plans noirs avec de gros plans sur des objets ; le vacillement de la flamme d’une bougie reflète alors l’oscillation du cône de lumière de la projection cinématographique, et une table d’échec symbolise la structure du film lui-même composé alternativement de plan blanc et noir. Le cinéma de Mutzenbecher semble toujours réfléchir les propriétés du cinéma pour déployer la puissance plastique de ce médium.</p><p style="text-align: justify;"><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7oWv32VeDpqC6lMavBTRhXUmb8PsCkW94Ty-q8VfF2BlOA2LZ4SffVR0AdKEOLoArZaGFirqeQipLbDfAxKNW3CRPRbJh3jXbSTou4bolWE1BsVXobbZRyEPXCLsth0XeBXTph5vHhA4/s766/vlcsnap-2021-11-24-12h50m14s33.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="573" data-original-width="766" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7oWv32VeDpqC6lMavBTRhXUmb8PsCkW94Ty-q8VfF2BlOA2LZ4SffVR0AdKEOLoArZaGFirqeQipLbDfAxKNW3CRPRbJh3jXbSTou4bolWE1BsVXobbZRyEPXCLsth0XeBXTph5vHhA4/w236-h176/vlcsnap-2021-11-24-12h50m14s33.png" width="236" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR1FLk3ptX01Bb1ElT5I4Wp2GooUErb1tjlg1-9hqOsYsGqQ0WTz3hCAd8yg8xhddrHeN6Iu4VKarSbr4wTn3DsHIrwlheVKrbHvkPzGNS3FJirB2pMdwvgvEVN4W3ng_oUiM8xLKWLoc/s767/vlcsnap-2021-11-24-12h38m39s65.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="767" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR1FLk3ptX01Bb1ElT5I4Wp2GooUErb1tjlg1-9hqOsYsGqQ0WTz3hCAd8yg8xhddrHeN6Iu4VKarSbr4wTn3DsHIrwlheVKrbHvkPzGNS3FJirB2pMdwvgvEVN4W3ng_oUiM8xLKWLoc/w238-h177/vlcsnap-2021-11-24-12h38m39s65.png" width="238" /></a></div></div><p style="text-align: justify;"></p><p style="text-align: center;"><i>Movimenti Objekte (Flickerfilm) </i><br /></p><p style="text-align: justify;"><span> </span></p><p style="text-align: justify;"><span> </span>A la différence de son œuvre picturale, le cinéma de Mutzenbecher se tourne peu vers l’abstraction et se compose davantage d’images figuratives de la vie matérielle. <i>Kunsthalle</i> (1969) illustre ce déplacement ; l’auteur y filme la Kunsthalle Basel, mais au lieu de filmer les œuvres d’art exposées, il porte son attention sur les détails matériels du bâtiment : l’encadrement des différentes salles, les grilles d’aération, les défauts des murs en très gros plan. Il retrouve ainsi les formes géométriques qu’il travaille dans ses tableaux mais dans le réel même, comme si le cinéma permettait d’appréhender les propriétés plastiques du monde qui nous entoure pour porter un nouveau regard sur le réel. A cet égards <i>Dinge</i> (1968) ou la première partie d’<i>Aktionen </i>(1971) peuvent rappeler la poésie de Francis Ponge, tant les gros plans sur les objets du quotidien permettent de révéler la matérialité des objets du quotidien grâce à la sensation haptique que peut produire l’image cinématographique. La caméra de Mutzenbecher permet alors de raviver nos sensations et nos perceptions des objets les plus banals que le quotidien et l’habitude avaient émoussées. A l’image de l’eau ondoyante de <i>Rheinhafen</i> (1978) qui reflète un port industriel en redonnant à cet espace froid une douceur paisible, ce cinéma nous fait redécouvrir l’étrange beauté du monde. </p><p style="text-align: justify;"> </p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2hlg4Ou4QBlczHYfLTK7S1N6lZl4cI5Hx1LkaeWzErL8VmxtaCTVzMQETcpQGWKT0zJom2N7X0kYclj1kjuLUK7emZVMWgwXJY24R9DLBTXzQADNEolYFshj_j4Bc6dWS1rwuOnUSN_0/s768/vlcsnap-2021-11-24-13h02m21s218.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="575" data-original-width="768" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2hlg4Ou4QBlczHYfLTK7S1N6lZl4cI5Hx1LkaeWzErL8VmxtaCTVzMQETcpQGWKT0zJom2N7X0kYclj1kjuLUK7emZVMWgwXJY24R9DLBTXzQADNEolYFshj_j4Bc6dWS1rwuOnUSN_0/w235-h177/vlcsnap-2021-11-24-13h02m21s218.png" width="235" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirtxwDDIDWx5srhIYz706tDMkWu0mg38aiTcThPUkFUP9hKxqL8NTUxriLzRCItdKJqpIhmo9V87AH6RwhHWkR-CIafveI0k-0P6d_Rp3_UD6wLFxdXJRrcTJ9woKSO-CK2sC-8S1CNX0/s767/vlcsnap-2021-11-24-13h04m18s63.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="767" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirtxwDDIDWx5srhIYz706tDMkWu0mg38aiTcThPUkFUP9hKxqL8NTUxriLzRCItdKJqpIhmo9V87AH6RwhHWkR-CIafveI0k-0P6d_Rp3_UD6wLFxdXJRrcTJ9woKSO-CK2sC-8S1CNX0/w236-h177/vlcsnap-2021-11-24-13h04m18s63.png" width="236" /> </a></div><div class="separator" style="clear: both; text-align: center;"> <i>Dinge </i><i><i>Rheinhafen</i></i></div><p></p><p style="text-align: justify;"><span> </span></p><p style="text-align: justify;"><span> </span>Ainsi, l’attention portée aux propriétés propres du médium cinématographique, ne donne pas lieu à un cinéma froid et purement théorique. Dans un texte écrit en 2003 par Mutzenbecher et édité dans le livret accompagnant l’édition DVD, l’auteur écrit : « le cinéma, c’est l’émotion ». Il reprend à son compte la fameuse expression de Samuel Fuller dans <i>Pierrot, le fou</i>. Mais là où le cinéaste américain considérait surtout l’émotion à partir de la narration (« <i>There’s love, hate, action, violence, death… in one word : emotion</i> »), Mutzenbecher considère l’émotion comme une propriété essentielle du médium cinématographique. <i>Filme</i> (1982) repose ainsi sur la dimension intrinsèquement nostalgique du cinéma ; le film est un montage de films super 8 représentant des proches du cinéaste. On voit ainsi les visages vieillir au fur et à mesure du film. Le refilmage accentue la fragilité des figures qui ne sont plus que des souvenirs, mais si le montage rapide et saccadé rappelle l’évanescence du temps, le cinéma permet tout de même de préserver une trace de ce passé. L’émotion naît alors de cet écart paradoxal entre la sauvegarde de la mémoire et la marque de la perte. Les figures et les formes prennent une dimension fantomatique ; les surimpressions de <i>Projektionen</i> (1985) ou d’<i>Untergrund</i> (1985), ne cessent de travailler ce rapport entre présence et absence. L’immatérialité des films projetés sur d’autres images ou sur le corps même du cinéaste, donne l’impression au spectateur de voir des images mentales, comme autant de réminiscences ou de rêves que la pellicule permet de libérer. Le spectateur retrouve alors la fascination des spectateurs des premiers temps, qui voyaient dans les films une mystérieuse image de fantômes du passé. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZM2bITianV_WtpPrVvd5pBuzWPj24VcI7sBpuXcGFb_UU2Q3xC-KE5bxZJqq6RTXefY-bAZsVn966LwyaxagIO8irdbwnhbaLX1s0FRqivi2MVy1ALDAKWOGTq30NE_myAzPgVdMsH_Q/s768/vlcsnap-2021-11-24-13h20m41s220.png" style="margin-left: 1em; margin-right: 1em;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWh9e08koQhUhIGpcf1CUSP-NyC3SdXvGadYRrgVVW_Pz4A_4XgrGzhRVP5EP8OxP25Q0Sd2ooVuRUdGXpWuCTP9fJ1EOG57-EMwBtM-25XYmOZA-3r7jsQpfplBCKeBbdNYKhKBlUAho/s809/vlcsnap-2021-11-24-13h15m51s121.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="809" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWh9e08koQhUhIGpcf1CUSP-NyC3SdXvGadYRrgVVW_Pz4A_4XgrGzhRVP5EP8OxP25Q0Sd2ooVuRUdGXpWuCTP9fJ1EOG57-EMwBtM-25XYmOZA-3r7jsQpfplBCKeBbdNYKhKBlUAho/w247-h176/vlcsnap-2021-11-24-13h15m51s121.png" width="247" /></a> <img border="0" data-original-height="576" data-original-width="768" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZM2bITianV_WtpPrVvd5pBuzWPj24VcI7sBpuXcGFb_UU2Q3xC-KE5bxZJqq6RTXefY-bAZsVn966LwyaxagIO8irdbwnhbaLX1s0FRqivi2MVy1ALDAKWOGTq30NE_myAzPgVdMsH_Q/w237-h178/vlcsnap-2021-11-24-13h20m41s220.png" width="237" /></div></div></div><div style="text-align: left;"><i><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Filme Projektionen</i><br /></div><br /><div><p></p><p style="text-align: justify;"> </p><p style="text-align: center;"><u><b> FILMS </b></u></p><p style="text-align: center;">1. I/68 Dinge 1968, 16mm, 8' b&w silent <br />2. II/69 Kunsthalle 1969, 16mm, 6' b&w silent <br />3. III/71 Aktionen 1971, 16mm, 15' b&w sound <br />4. XIV/82 Filme 1982, 16mm, 21' color sound <br />5. XV/84 Vogelhaus 1984, 16mm, 9' b&w sound <br />6. XVI/84 Fenster III 1984, 16mm, 4' b&w silent <br />7. XXVII/03 Filmmaker's afternoon 2003, 16mm, 6' b&w silent <br />8. XIX/88 4x8 1988, 16mm, 3' color silent <br />9. Movimenti II/90 1990, 16mm, 3' color silent <br />10. XVII/85 Projektionen 1985, 16mm, 8' b&w sound <br />11. Objekte (Flickerfilm) 2017, 16mm, 3'b&w silent <br />12. Personae (Drei Generationen) 2017, 16mm, 4' b&w silent <br />13. XX/88 Pelczyn 1988, 16mm, 12' color sound EN Subtitles <br />14. IX/75 Schlachthof 1975, 16mm, 20' color sound <br />15. X/78 Rheinhafen 1978, 16mm, 12' color silent <br />16. Rom 70/71 1970-71, Super-8, 20' color silent <br />17. XXII/90 Wolf-Passerelle 1990, 16mm, 6' color sound <br />18. XVIII/85 Untergrund 1985, 16mm, 5' b&w sound </p><p style="text-align: center;"> Edition accompagnée d’un livret en anglais, français et allemand de 96 pages </p><p style="text-align: center;">Disponible depuis le 2 novembre 2021 ici/DVD available here : <a href="https://bit.ly/3HQ3dMM">https://bit.ly/3HQ3dMM</a></p><p style="text-align: left;"><br /></p><p class="MsoNormal">- Robin Vaz<br /><br /><u>ENGLISH</u><br /><br />This corpus of eighteen short films covers fifty years of
Werner von Mutzenbecher's artistic production. From <i>Dinge </i>(1968) to <i>Personae
(Drei Generationen)</i> (2017), this selection allows us to understand the great
diversity of the artist’s cinematographic exploration. If Werner von
Mutzenbecher’s primary activity is painting, his filmography, made up of around
a hundred films in 8mm, super 8, 16mm or video, testifies to a great
sensitivity to the uniqueness of the cinematographic medium. These eighteen
films form a protean whole; the formal mastery of some of these films may evoke
structural cinema, while others seem more to follow a spontaneous logic, in the
manner of diarist cinema. With Mutzenbecher, formal mastery is never
contradictory with a form of subjectivity, lyricism and poetry.<br /><br />Through each of
these films, the artist seeks to explore all the potentialities of the
cinematographic image. In <i>Movimenti</i> (1990), the fixed camera is positioned
facing a white wall; a man enters and leaves the plane. Each new appearance is
an opportunity to surprise the viewer; the scale of the shot keeps shifting,
and the side through which a man enters the frame is always unpredictable. In
the simplicity of this formal structure, Mutzenbecher delivers in a few minutes
a study on the movement of a body and a reflection on and off the field. In
<i>Objekte (Flickerfilm)</i> (2017), the artist is interested in the luminous oscillation
specific to the cinematographic device. The film alternates black shots with
close-ups of objects; the flickering of a candle flame then reflects the
oscillation of the cone of light of the cinematic projection, and a chess table
symbolizes the structure of the film itself composed of alternating white and
black planes. Mutzenbecher's cinema always seems to <span lang="EN-US" style="mso-ansi-language: EN-US;">draw attention to</span> the<span lang="EN-US" style="mso-ansi-language: EN-US;"> physical</span> properties of cinema in order
to highlight the <span lang="EN-US" style="mso-ansi-language: EN-US;">esthetic</span>
power <span lang="EN-US" style="mso-ansi-language: EN-US;">inherent in the
materiality </span>of this medium.
</p><p class="MsoNormal"><br />Unlike his
pictorial work, Mutzenbecher’s cinema leans little towards abstraction and
consists more of figurative images of material life. <i>Kunsthalle</i> (1969)
illustrates this shift; the author films the Kunsthalle Basel, but instead of
filming the works of art on display, he focuses his attention on the material
details of the building: the framing of the various rooms, the ventilation covers, the defects of the walls, all in <span lang="EN-US" style="mso-ansi-language: EN-US;">extreme</span> close up. He thus rediscovers the geometric shapes he
works with in his paintings<span lang="EN-US" style="mso-ansi-language: EN-US;">,</span>
but in <span lang="EN-US" style="mso-ansi-language: EN-US;">a real-life</span><span lang="EN-US"> </span><span lang="EN-US" style="mso-ansi-language: EN-US;">setting</span>,
as if cinema is able to help us better appreciate the plastic properties of the world around us in order to
take a new look at reality. In this respect, <i>Dinge</i> (1968) or the first part of
<i>Aktionen</i> (1971) may recall the poetry of Francis Ponge, as close-ups on
everyday objects reveals the materiality of these objects in a sort of tactile sensation that <span lang="EN-US" style="mso-ansi-language: EN-US;">is</span> produce<span lang="EN-US" style="mso-ansi-language: EN-US;">d through</span>
the cinematic image. Mutzenbecher's camera th<span lang="EN-US" style="mso-ansi-language: EN-US;">us </span>makes it possible to revive our intimate perceptions
of the most banal objects that habit and the rhythms of a mundane life have blunted. Like the
rippling water <span lang="EN-US" style="mso-ansi-language: EN-US;">in</span>
<i>Rheinhafen</i> (1978) that reflects the industrial port on its banks and gives a rather cold space a peaceful softness,
this <span lang="EN-US" style="mso-ansi-language: EN-US;">cinematic work helps </span>us<span lang="EN-US" style="mso-ansi-language: EN-US;"> to</span> rediscover the strange beauty
of the world.<br /><br /><span face=""Calibri",sans-serif" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">Thus, </span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">the</span><span face=""Calibri",sans-serif" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">
attention </span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">Mutzenbecher </span><span face=""Calibri",sans-serif" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">pa</span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">ys</span><span face=""Calibri",sans-serif" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"> to
the specific properties of the cinematographic medium does not give rise to </span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">a </span><span face=""Calibri",sans-serif" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">cold
and purely theoretical cinema. In a text written in 2003 by Mutzenbecher and
published in the booklet accompanying the DVD edition, the author writes:
"cinema is emotion". In a sense, he takes up the famous expression of Samuel
Fuller in <i>Pierrot, le fou</i>. But while the American filmmaker considered emotion
primarily from its narrative perspective ("There’s love, hate, action, violence,
death… in one word: emotion"), Mutzenbecher considers emotion to be an
essential property of the film medium. <i>Filme</i> (1982) is thus based on the intrinsically
nostalgic dimension of cinema; the film is a montage of super 8 films depicting
relatives of the filmmaker. We thus see the faces aging as the film progresses.
The re-filming accentuates the fragility of the figures which are no more than
memories, even if the rapid and jerky editing recalls the evanescence of time,
the cinematic projection still allows us to preserve a trace of this past. Emotion then
arises from this paradoxical gap between saving memory and the mark of loss.
Figures and shapes take on a ghostly dimension; the </span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">superimpositions</span><span face=""Calibri",sans-serif" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"> of <i>Projektionen</i> (1985) or <i>Untergrund</i> (1985),
constantly work on this relationship between presence and absence. The
immateriality of the films projected onto other images or onto the filmmaker's
own body, gives the viewer the impression of seeing mental images, like so many
reminiscences or dreams that the film </span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">helps</span><span face=""Calibri",sans-serif" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"> to
release. The spectator</span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"> is</span><span face=""Calibri",sans-serif" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"> then </span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">able to </span><span face=""Calibri",sans-serif" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">rediscover
the fascination of </span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">early
cinema audiences</span><span face=""Calibri",sans-serif" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">, who saw in the</span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"> projected</span><span face=""Calibri",sans-serif" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"> frames mysterious images of ghosts </span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">from the past.</span><span face=""Calibri",sans-serif" lang="EN-US" style="font-size: 12pt; mso-ansi-language: #0C00; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: DengXian; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"> </span>
</p><p style="text-align: left;"><style>@font-face
{font-family:"Cambria Math";
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:roman;
mso-font-pitch:variable;
mso-font-signature:3 0 0 0 1 0;}@font-face
{font-family:DengXian;
panose-1:2 1 6 0 3 1 1 1 1 1;
mso-font-alt:等线;
mso-font-charset:134;
mso-generic-font-family:modern;
mso-font-pitch:fixed;
mso-font-signature:1 135135232 16 0 262144 0;}@font-face
{font-family:Calibri;
panose-1:2 15 5 2 2 2 4 3 2 4;
mso-font-charset:0;
mso-generic-font-family:swiss;
mso-font-pitch:variable;
mso-font-signature:-536859905 -1073732485 9 0 511 0;}@font-face
{font-family:"\@DengXian";
panose-1:2 1 6 0 3 1 1 1 1 1;
mso-font-charset:134;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-1610612033 953122042 22 0 262159 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0cm;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Calibri",sans-serif;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:DengXian;
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:"Calibri",sans-serif;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:DengXian;
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}div.WordSection1
{page:WordSection1;}</style><style class="darkreader darkreader--sync" media="screen"></style></p></div>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-20434875277144358632021-09-13T07:01:00.003-07:002021-09-20T06:34:17.896-07:00NATURES AND ABSTRACTIONS de Siegfried A. Fruhauf - DVD & Bu-ray <p style="text-align: justify;"> </p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLDZVyn4q3m5jq5ZFfPax2Q0V8fF1RC7Wyv_FCqPYvCfkmYwO9L8tUO_HflPk5kTN62arhahO3cu2vDeLSu7IIQYr3tqqa2Vkt4FKEsrvjYhJMPG-eaRVi3FLjPyc4VYbEhupFrSrwzZ8/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLDZVyn4q3m5jq5ZFfPax2Q0V8fF1RC7Wyv_FCqPYvCfkmYwO9L8tUO_HflPk5kTN62arhahO3cu2vDeLSu7IIQYr3tqqa2Vkt4FKEsrvjYhJMPG-eaRVi3FLjPyc4VYbEhupFrSrwzZ8/" width="320" /></a></div>FR : </div></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Siegfried A. Fruhauf pense le cinéma comme un processus naturel au sens large. C’est que la nature comme sujet dans ses films sert toujours une investigation poétique sur les lois du cosmos et de l’univers. Son entreprise esthétique consiste donc à nous projeter au-delà des habitudes perceptives, pour voir les corps célestes qui se cachent dans la doublure d’un paysage. Pour ce faire, il utilise la caméra à l’instar d’un appareil scientifique, c’est-à-dire comme un instrument capable de prélever ce qui est invisible pour l’œil humain. Les images qui vont apparaître ensuite ne peuvent plus être déchiffrées par la physique ou les mathématiques. Ce qu’elles montrent tient de la catastrophe des étoiles qui brûlent et meurent.</div></div><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: justify;">Afin d’opérer cette traduction où la caméra nous donne à interpréter le langage des astres, le</div><div class="separator" style="clear: both; text-align: justify;">cinéaste investit les limites de l’appareil de prise de vue. C’est en accentuant la décomposition</div><div class="separator" style="clear: both; text-align: justify;">de la pellicule ou le parasitage du grain qu’il réalise de véritables odes au dérèglement. Ainsi,</div><div class="separator" style="clear: both; text-align: justify;">ses images tiennent leur puissance du fait qu’elles placent l’appareil au premier plan, qu’elles</div><div class="separator" style="clear: both; text-align: justify;">portent la vie propre de la machine à l’écran. Des manifestations plastiques inouïes vont alors</div><div class="separator" style="clear: both; text-align: justify;">naître des “erreurs“ de représentation, prouvant qu’il y a un cosmos dans chaque image,</div><div class="separator" style="clear: both; text-align: justify;">même pauvre. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">De fait, parmi les phénomènes cosmiques, c’est peut-être la “dissolution“ qui constitue le</div><div class="separator" style="clear: both; text-align: justify;">leitmotiv central des œuvres de Siegfried A. Fruhauf.</div><div class="separator" style="clear: both; text-align: justify;">Dans <i>Night Sweat</i> (2008) le dialogue entre la nature et la nature du film continue d’interroger</div><div class="separator" style="clear: both; text-align: justify;">les limites de la machine, mais en sublimant les interférences. Les assauts du zoom dans la</div><div class="separator" style="clear: both; text-align: justify;">nuit finissent par liquéfier l’image pour nous aspirer dans un univers chaotique où notre esprit</div><div class="separator" style="clear: both; text-align: justify;">projette des trous noirs sur la danse des pixels. En désorganisant l’image de la sorte via un</div><div class="separator" style="clear: both; text-align: justify;">artisanat de l’ivresse, le cinéaste opère une rupture avec l’idée de représentation classique. Il</div><div class="separator" style="clear: both; text-align: justify;">dissout la matière et nous plonge dans un désordre plastique que seul notre monde intérieur</div><div class="separator" style="clear: both; text-align: justify;">peut réarranger. Le réel s’ouvre alors à de nouveaux modes de structuration imaginaires.</div><div class="separator" style="clear: both; text-align: justify;">Voilà toute l’entreprise politique d’un cinéaste qui remet en jeu les fondements de</div><div class="separator" style="clear: both; text-align: justify;">l’objectivité comme pour mieux nous inviter à repenser le monde.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">« Nous vivons dans l’idée qu’il n’y a pas d’alternative, que si le monde tournait autrement,</div><div class="separator" style="clear: both; text-align: justify;">tout s’effondrerait. Ce n’est pas vrai. Il y a un autre ordre, et il fonctionne aussi. Quand la</div><div class="separator" style="clear: both; text-align: justify;">Terre était plate, elle fonctionnait aussi. »</div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-small;">Siegfried A. Fruhauf, Talk at The Austrian Film Museum, captation vidéo, 11 Janvier 2020.</span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Puisant dans cette histoire du cinéma qui réunit Man Ray et Marcel Duchamp, le travail de</div><div class="separator" style="clear: both; text-align: justify;">Siegfried A. Fruhauf pose constamment de nouvelles lumières. Son approche libre et non</div><div class="separator" style="clear: both; text-align: justify;">académique de l’héritage autrichien (Kren, Kubelka, etc.) indique qu’il s’agit moins pour lui</div><div class="separator" style="clear: both; text-align: justify;">de “montrer autre chose“ que de trouver une “nouvelle manière de voir“ le familier. De ce</div><div class="separator" style="clear: both; text-align: justify;">fait, comme en témoigne le montage archéologique de ses films, son œuvre est bien le lieu</div><div class="separator" style="clear: both; text-align: justify;">d’une actualisation. On pense ici à sa manière d’empiler les traces, pour faire cohabiter le</div><div class="separator" style="clear: both; text-align: justify;">disparu et le dissemblable au point « infiniment petit du présent ». C’est que le cinéma de</div><div class="separator" style="clear: both; text-align: justify;">Fruhauf appréhende le temps et les phénomènes sous le prisme de la répétition ; et tout renaît</div><div class="separator" style="clear: both; text-align: justify;">au rythme des boucles sonores hypnotiques de Anna Katharina Laggner et Jürgen Gruber.</div></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVrolx7W0OOu_7Loq-zygpyjv73Otb07T38zo_BOcY1gNSujeEd8cGI9huS0DeLzF71aw3MBFG-NwElUPLYxalgXk6RaPBwpusDKk_gro5ym_hhJMukRziuGxVBveOHMDVSDf11dWg5DM/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVrolx7W0OOu_7Loq-zygpyjv73Otb07T38zo_BOcY1gNSujeEd8cGI9huS0DeLzF71aw3MBFG-NwElUPLYxalgXk6RaPBwpusDKk_gro5ym_hhJMukRziuGxVBveOHMDVSDf11dWg5DM/" width="188" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><u>FILMS</u></div><div class="separator" style="clear: both; text-align: center;"><b>Dissolution Prologue - Extended Version</b> (2020) 6'</div><div class="separator" style="clear: both; text-align: center;"><b>Thorax</b> (2019) 8'</div><div class="separator" style="clear: both; text-align: center;"><b>Water and Clearing</b> (2018) 5'</div><div class="separator" style="clear: both; text-align: center;"><b>Phantom Ride Phantom</b> (2017) 10'</div><div class="separator" style="clear: both; text-align: center;"><b>Fuddy Duddy</b> (2015) 5'</div><div class="separator" style="clear: both; text-align: center;"><b>Vintage Print</b> (2015) 13'</div><div class="separator" style="clear: both; text-align: center;"><b>Still Dissolution</b> (2013) 2'</div><div class="separator" style="clear: both; text-align: center;"><b>Night Sweat</b> (2008) 10'</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><u>BONUS</u></div><div class="separator" style="clear: both; text-align: center;"><b>Camera Test</b> (2021), 4'</div><div class="separator" style="clear: both; text-align: center;"><b>Siemens Star</b> (2018), 3' </div><div class="separator" style="clear: both; text-align: center;"><b>Wood Land & Power Pole - Deconstruction</b> (2001), 3'</div><div class="separator" style="clear: both; text-align: center;"><b>Talk at the Austrian Film Museum</b> (2020), 25' </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">+ un livret bilingue / + bilingual booklet</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">disponible le 20 septembre / available september 20 </div><div class="separator" style="clear: both; text-align: left;">EN : </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both;">Siegfried A. Fruhauf sees cinema as a natural process in the broad sense. It is that nature as a</div><div class="separator" style="clear: both;">subject in his films always serves as a poetic investigation into the laws of the cosmos and the</div><div class="separator" style="clear: both;">universe. His aesthetic enterprise therefore consists in projecting us beyond perceptual habits,</div><div class="separator" style="clear: both;">to see the celestial bodies that hide in the lining of a landscape. To do this he uses the camera</div><div class="separator" style="clear: both;">like a scientific device, that is, as an instrument capable of taking what is invisible to the</div><div class="separator" style="clear: both;">human eye. The images that will appear next can no longer be deciphered by physics or</div><div class="separator" style="clear: both;">mathematics. What they show stems from the disaster of burning and dying stars.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">In order to carry out this translation where the camera gives us a way to interpret the language</div><div class="separator" style="clear: both;">of the stars, the filmmaker pushes the limits of the camera as a tool. It is by accentuating the</div><div class="separator" style="clear: both;">decomposition of the film or the interference of the grain that he realizes sincere odes to</div><div class="separator" style="clear: both;">disorder. Thus, his images derive their power from the fact that they bring the device to the</div><div class="separator" style="clear: both;">fore, that they bring the life of the machine to the screen. New filmic manifestations arise</div><div class="separator" style="clear: both;">from representation "errors", proving that there is a cosmos in every image, however small.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">In fact, among cosmic phenomena, it is perhaps "dissolution" which constitutes the central</div><div class="separator" style="clear: both;">leitmotif of the works of Siegfried A. Fruhauf. </div><div class="separator" style="clear: both;">In <i>Night Sweat</i> (2008) the dialogue between nature and the nature of the film continues to question the limits of the machine, but sublimates the interferences. The zooming assaults in the night eventually liquefy the image to suck us into a chaotic universe where our minds project black holes on the dance of pixels. By disorganizing the image in this way through a craft of intoxication, the filmmaker breaks</div><div class="separator" style="clear: both;">with the idea of classical representation. It dissolves matter and plunges us into a plastic mess</div><div class="separator" style="clear: both;">that only our inner world can rearrange. The real then opens up to new modes of structuring</div><div class="separator" style="clear: both;">imagination. This creates a political approach by filmmaker, who brings into play the</div><div class="separator" style="clear: both;">foundations of objectivity as if to better invite us to rethink the world.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">“We live with the idea that there is no alternative, that if the world turned out otherwise</div><div class="separator" style="clear: both;">everything would fall apart. This is not true. There is another order, and it works too. When</div><div class="separator" style="clear: both;">the Earth was flat, it worked too.“</div><div class="separator" style="clear: both;"><span style="font-size: x-small;">Siegfried A. Fruhauf, Talk at The Austrian Film Museum, video recording, January 11, 2020.</span></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Drawing on this history of cinema which brings together Man Ray and Marcel Duchamp, the</div><div class="separator" style="clear: both;">work of Siegfried A. Fruhauf constantly sheds new light on the limits of moving image. His</div><div class="separator" style="clear: both;">free and non-academic approach to the Austrian heritage (Kren, Kubelka, etc.) indicates that it</div><div class="separator" style="clear: both;">is less for him to "show something else" than to find a "new way of seeing" the familiar. As a</div><div class="separator" style="clear: both;">result, as evidenced by the archaeological montage of his films, his work is indeed finds it’s</div><div class="separator" style="clear: both;">place in a process of updating our reality. We think here of his way of piling up traces of</div><div class="separator" style="clear: both;">images, to make the disappeared and the dissimilar coexist at the "infinitely small point of the</div><div class="separator" style="clear: both;">present". Furhauf's cinema apprehends time and phenomena through the prism of repetition;</div><div class="separator" style="clear: both;">and everything is reborn to the rhythm of the hypnotic sound loops of Anna Katharina</div><div class="separator" style="clear: both;">Laggner and Jürgen Gruber.</div><div class="separator" style="clear: both;"><br /></div></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8jIPayeOxmRCc7dZIFEInemr7sTl6bNRHzLU5Z4_wjEWiGt0PopbK9PS1nbUe7WsPZtbOsJYZvHeehpjRv-wCP-TxIh6yddMZjmUn8rLgmZjshFeOG1490xtBxQoGG_8BtN2p37iHbbA/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8jIPayeOxmRCc7dZIFEInemr7sTl6bNRHzLU5Z4_wjEWiGt0PopbK9PS1nbUe7WsPZtbOsJYZvHeehpjRv-wCP-TxIh6yddMZjmUn8rLgmZjshFeOG1490xtBxQoGG_8BtN2p37iHbbA/" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">- Etienne Bomba, trad. Jim Stickel, Re:voir (2021) </div></div></div></div></div></div></div><p></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-90997247839892674672021-07-06T06:06:00.003-07:002021-07-07T03:27:57.577-07:00Early Works de Hans Richter DVD Expanded version / Version augmentée <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjipLSljfBAlkxEP2Twrsdd69AU1v2SJGbE6GVnmrRYFxQRmY3DMg2guuPuwDVQMA6KjikJh5HrCnlmVOA8i9HQkudG96RkGOlLJuEQqMeTicPkfyUwx3g6uDVX7alYoy4udfLw4cg6rPw/s800/hans-richter-rhythmus-21-06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="579" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjipLSljfBAlkxEP2Twrsdd69AU1v2SJGbE6GVnmrRYFxQRmY3DMg2guuPuwDVQMA6KjikJh5HrCnlmVOA8i9HQkudG96RkGOlLJuEQqMeTicPkfyUwx3g6uDVX7alYoy4udfLw4cg6rPw/s320/hans-richter-rhythmus-21-06.jpg" width="320" /></a></div><p style="text-align: left;">Early Works by Hans Richter is re-released with 3 bonus films!</p><p style="text-align: left;">Richter's position in the art world was unique. As one of the earliest exponents of Dada, he was also one of the first to recognize the new possibilities cinematography offered the artist. He participated in the first avant-garde film movement alongside Léger, Duchamp, Man Ray, Picabia, Cocteau and Dali, and later in New York his teachings would influence many of the "New American Cinema" filmmakers.</p><p><span data-mce-style="text-decoration: underline;" style="text-decoration-line: underline;"><strong>FILMS</strong></span></p><p>Rhythmus 21, 1921, 4’<br />Rhythmus 23, 1923, 4’<br />Filmstudie, 1926, 5’<br />Ghosts Before Breakfast (Vormittagsspuk), 1927-28, 7’<br />Race Symphony, 1928-29, 7’<br />Two Pence Magic (Zweigroschenzauber), 1928-29, 2’<br />Inflation, 1927, 3’<br />Everything Turns Everything Revolves, 1929, 3’</p><p><span data-mce-style="text-decoration: underline;" style="text-decoration-line: underline;"><strong>BONUS</strong></span></p><p>Give Chance a Chance (Stephan Chodorov, 1973, 28')<br />Richter on Film (Cecile Starr, 1972, 12')<br />A Visit to Hans Richter (Jonas Mekas, 2003,5')</p><p><br style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;" /></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqdUJwyC2Q-JAAAeIp2UP1QG_yl10gtaBU1UQxMYonCPOS13BzzKemHuSGUfreMW0ifIXbw_J6CG8l6ulDf-zg946Ms7i5kk96du4tyekOHAJzl_-oUU7mL3egB_hjjVwzEx0R-1atktc/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="638" data-original-width="498" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqdUJwyC2Q-JAAAeIp2UP1QG_yl10gtaBU1UQxMYonCPOS13BzzKemHuSGUfreMW0ifIXbw_J6CG8l6ulDf-zg946Ms7i5kk96du4tyekOHAJzl_-oUU7mL3egB_hjjVwzEx0R-1atktc/w224-h287/Screen+Shot+2021-07-06+at+14.13.13.png" width="224" /></a></div><p style="text-align: center;"><a href="https://re-voir.com/shop/fr/hans-richter/1320-early-works-version-augmentee.html?search_query=early+works&results=30">available now / disponible ici</a></p><p></p><p><br /></p><p style="text-align: left;">Early Works de Hans Richter est resorti avec les films en bonus !</p><p style="text-align: left;">Promoteur de Dada et Surréalisme, Richter fut l'un des premiers à prendre conscience des possibilités que le cinéma offre aux artistes. Il fut l'un des pionniers du cinéma d'avant-garde avec Léger, Duchamp, Man Ray, Picabia, Cocteau et Dali. Plus tard, à New York, son enseignement influença de nombreux cinéastes du "New American Cinema".</p><p><span data-mce-style="text-decoration: underline;" style="text-decoration-line: underline;"><strong>FILMS</strong></span></p><p>Rhythmus 21, 1921, 4’<br />Rhythmus 23, 1923, 4’<br />Filmstudie, 1926, 5’<br />Ghosts Before Breakfast (Vormittagsspuk), 1927-28, 7’<br />Race Symphony, 1928-29, 7’<br />Two Pence Magic (Zweigroschenzauber), 1928-29, 2’<br />Inflation, 1927, 3’<br />Everything Turns Everything Revolves, 1929, 3’</p><p><span data-mce-style="text-decoration: underline;" style="text-decoration-line: underline;"><strong>BONUS</strong></span></p><p>Give Chance a Chance (Stephan Chodorov, 1973, 28')<br />Richter on Film (Cecile Starr, 1972, 12')<br />A Visit to Hans Richter (Jonas Mekas, 2003,5')</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5q1w2CvEosC08wfNbDA_T2sxeW0sxCKsiO59PaSCbLJJpHNMEjeQs71Q4jmSP0RyoPA9ziw2j9GzWTKfjdyDzbNUOTpumA53Jw10kRceetMjWqti_akloCcWPA-Cdq1cdcGsEgy28sX0/s800/hans-richter-rhythmus-21-07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="623" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5q1w2CvEosC08wfNbDA_T2sxeW0sxCKsiO59PaSCbLJJpHNMEjeQs71Q4jmSP0RyoPA9ziw2j9GzWTKfjdyDzbNUOTpumA53Jw10kRceetMjWqti_akloCcWPA-Cdq1cdcGsEgy28sX0/s320/hans-richter-rhythmus-21-07.jpg" width="320" /></a></div><br /><p><br style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;" /></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-14153169605262900932021-06-17T07:01:00.000-07:002021-06-17T07:01:01.534-07:00THE EDGE / ICE de Robert Kramer DVD & Blu-ray sortie officielle / now available<div style="text-align: center;"><span style="font-family: verdana;"><br /></span></div><p style="text-align: left;"><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK9_vVr6mw4PxSHzV7yyHSsy5EM42ERLxHKyYajs3-lm1v8N42xc9mvto1OcJg_ECnsRMOGsArklw2BS2QqMW-uJgL8aRYiP0KeM4rQ0zxtByE_6BdTTA2nkjpzOQrILqG77ZrrhPHqnA/s1433/Screen+Shot+2021-06-17+at+12.48.57.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1011" data-original-width="1433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK9_vVr6mw4PxSHzV7yyHSsy5EM42ERLxHKyYajs3-lm1v8N42xc9mvto1OcJg_ECnsRMOGsArklw2BS2QqMW-uJgL8aRYiP0KeM4rQ0zxtByE_6BdTTA2nkjpzOQrILqG77ZrrhPHqnA/s320/Screen+Shot+2021-06-17+at+12.48.57.png" width="320" /></a></span></div><p></p><p style="text-align: left;"><span style="font-family: verdana;">EN: </span></p><p style="text-align: justify;"><span style="font-family: verdana;"><i>The Edge</i> is political in the sense that no acts, no decisions, exist in a vacuum. Each moment defines the relevance or irrelevance of one's life. Their arguments, their conversations, are not traditionally "political", not "ideological", because the politics of liberation in the United States today is essentially the crucial daily politics of: How shall I live my life ? What groups of people in the society are those that I must relate to and aid in any way I can ? (...) That is : a life here and now is a continous series of choices that define which side you are on. (Robert Kramer)</span></p><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQi4_kdociwQKQnfu_Ev37ZMoc7H8nwu_RMdtcmpfX9_6AE7kgZie0-tIKsOLPfhOSLrq1WsXVOVVIkFd1FPaclHeE_euuZ2Wy2bwxPwdG7tK__RG4c3aUodeSdPdcY3nIjP3qupxNaMo/s2048/RK%25232-sleeve-THEEDGE.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: verdana;"><img border="0" data-original-height="2048" data-original-width="1613" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQi4_kdociwQKQnfu_Ev37ZMoc7H8nwu_RMdtcmpfX9_6AE7kgZie0-tIKsOLPfhOSLrq1WsXVOVVIkFd1FPaclHeE_euuZ2Wy2bwxPwdG7tK__RG4c3aUodeSdPdcY3nIjP3qupxNaMo/s320/RK%25232-sleeve-THEEDGE.jpg" /></span></a></div><p></p><p style="text-align: center;"><span style="font-family: verdana;"><span style="text-decoration: underline;"><span>FILMS</span></span><br />The Edge (1967), 1h41 <br />Ice (1969), 2h13</span></p><p style="text-align: center;"><span style="font-family: verdana;">42 page bilingual booklet / un livret bilingue de 42 pages</span></p><p style="text-align: center;"><a href="https://re-voir.com/shop/en/robert-kramer/1302-the-edge-ice-robert-kramer.html" target="_blank"><span style="font-family: verdana;">available here / disponible ici </span></a></p><p style="text-align: justify;"><span style="font-family: verdana;">FR:</span></p><p style="text-align: justify;"><span style="font-family: verdana;"><i>The Edge</i> est politique au sens où aucun acte, aucune décision n'existe dans le vide. Tout moment juge de la pertinence ou du caractère absurde de la vie de chacun. Les discussions des personnages ne sont ni "politiques" ni "idéologiques" au sens traditionnel, parce que la politique d'émancipation aux Étas-Unis aujourd'hui s'attache essentiellement à des enjeux quotidiens cruciaux : Comment vivre ma vie ? à quel groupe de la société dois-je me rattacher et comment faire ? (...) Vivre ici et maintenant, c'est faire une série ininterrompue de choix qui définissent de quel côté on se retrouve. (Robert Kramer)</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh6QoOxP1aJfj54ybPQELqU4e3CX2hirc7KRvcJmKJIOSVgxqr1o1J1PCGcMPasgLCKD7rHL47yKXQv1LduzZWLjW-GEMENK7A13WvBl8PTO3NYujzalmtKwpHblqE6FoerYkMkI_JLhY/s530/Screen+Shot+2021-06-17+at+12.45.45.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="398" data-original-width="530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh6QoOxP1aJfj54ybPQELqU4e3CX2hirc7KRvcJmKJIOSVgxqr1o1J1PCGcMPasgLCKD7rHL47yKXQv1LduzZWLjW-GEMENK7A13WvBl8PTO3NYujzalmtKwpHblqE6FoerYkMkI_JLhY/s320/Screen+Shot+2021-06-17+at+12.45.45.png" width="320" /></a></div><br /><p style="text-align: justify;"><br /></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-77555721953678129052021-06-17T05:06:00.004-07:002021-06-17T07:09:40.393-07:00IN THE COUNTRY de Robert Kramer DVD & Blu-Ray sortie officielle / now available<p style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></p><p style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvr5hnUBcklNSGr_xK5Bd99QtrakUbabEZSUXPzQIijULGPuu7okm2xSO67NdqJPftAErZEhvV_NImL-EL5orG5wjQ98AQ_di6BFwf6OYB8FqH_7CYotkYvhvRlBDYPJ93J6VsusNhLAQ/s2048/Screenshot+2021-06-16+at+11.57.31.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1531" data-original-width="2048" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvr5hnUBcklNSGr_xK5Bd99QtrakUbabEZSUXPzQIijULGPuu7okm2xSO67NdqJPftAErZEhvV_NImL-EL5orG5wjQ98AQ_di6BFwf6OYB8FqH_7CYotkYvhvRlBDYPJ93J6VsusNhLAQ/w314-h234/Screenshot+2021-06-16+at+11.57.31.jpg" width="314" /><br /></a></span></span></p><p style="text-align: justify;"><span style="font-size: medium;"><span><span style="font-family: verdana;">EN:</span></span></span></p><p></p><p style="text-align: left;"></p><p style="text-align: justify;"><span style="font-size: medium;"><span><span style="font-family: verdana;">The film is personal to the extent that it's an attempt to purge all kinds of <span>profoundly distorted ways
of “seeing” people and relationships.
The film is patently about isolation,
and the man’s politics is only a part of
that isolation. Political involvements
</span><span>are conditioned because he conceived
</span><span>them in the wrong terms from the very
</span><span>beginning </span>- <span>in romantic, in illusory
terms. The language they use, their
quality of talk </span>- <span>all that only reflects
how far away they are. Their language
becomes their reality </span>- <span>in a way the
film is about a certain kind of words
</span><span>becoming a substitute for feeling, for
</span><span>experience. (About <i>In The Country</i>, In Interview with Robert Kramer)</span></span></span>
</span></p><div style="text-align: justify;"><span><span style="font-family: verdana; font-size: medium;">
</span></span></div><p style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: verdana;">Seen as a troubled diptych, </span><span style="font-family: verdana;"><i>Troublemakers</i></span><span style="font-family: verdana;"> and </span><span style="font-family: verdana;"><i>In The Country </i></span><span style="font-family: verdana;">offer, respectively, public and private glimpses of the political frustrations faced by young white radicals in the United States during this volatile period. Robert Kramer - producer, writer, and direct of of the second film - receives no credit on the first, but he's one of the more vocal radicals appearing in it, expressing some of the same disllusionment with mainstream, workaday policitcs that the second films is also wrestling with. </span><span style="font-family: verdana;">(Jonathan Rosenbaum)</span></span></p><p><span style="font-size: medium;"><span style="font-family: verdana;"></span></span></p><p><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><a href="https://re-voir.com/shop/fr/robert-kramer/1301-in-the-country-robert-kramer.html" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="2048" data-original-width="1614" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7cKq4AJMFG_TtoRU6XgGy45NMtVrwblsRHObTtandndRGCbPiDSkWgPAMly4Td2JZuhNMw7VYIbT2FDumroA2WVFp0bCeJLjl89-6H8smYGMkx5ctl5LVWZP_2AvZx73GEcZ2I4EcmeM/w301-h382/RK%25231-sleeve-INTHECOUNTRY.jpg" width="301" /><span style="text-decoration: underline;"></span></a><span style="text-decoration: underline;"></span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><span style="text-decoration: underline;"><br /></span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"><span style="text-decoration: underline;"><b>FILMS</b><br /></span>In The Country (1966), 62 min<br />Vidéo-lettres (1992), 56 min<br />Troublemakers (1965), 52 min</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;">with a 57 page bilingual booklet / avec un livret bilangue de 57 pages</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: verdana;"> <a href="https://re-voir.com/shop/en/robert-kramer/1301-in-the-country-robert-kramer.html">available here / disponible ici</a><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: small;"><span style="font-family: verdana;"><i><br /></i></span></span></div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: justify;"><span><span style="font-family: verdana; font-size: medium;">
</span></span></div><div class="page" style="text-align: justify;" title="Page 13"><div style="text-align: justify;"><span><span style="font-family: verdana; font-size: medium;">
</span></span></div><div class="layoutArea" style="text-align: justify;"><div><span><span style="font-family: verdana; font-size: medium;">
</span></span></div><div class="column"><div><span style="font-size: medium;"><span style="font-family: verdana;"></span><span style="font-family: verdana;"><span>FR:</span></span></span></div><p><span style="font-size: medium;"><span style="font-family: verdana;"><span>Ce film est personnel dans
la mesure où il essaie d’évacuer, de
purger toutes sortes de façons profon</span><span></span><span>dément déformées de « voir » les gens
et les relations. À l’évidence, il parle
d’isolement, et les opinions politiques
du personnage masculin ne constituent
qu’une part de cet isolement. Ses enga</span><span></span><span>gements politiques sont conditionnés
parce que, dès le début, il les a conçus
</span><span>dans de mauvais termes, des termes ro</span><span>mantiques, illusoires. Le langage que
les personnages utilisent, la nature de
leur conversation, tout cela ne fait que
refléter à quel point ils se sont éloi</span><span></span><span>gnés. Leur discours devient leur réalité.
D’une certaine façon, le film parle d’un
type de mots qui devient le substitut des
sentiments et de l’expérience.<i> </i></span><span>(</span><span>à propos de </span><i><span>In The Country, </span></i><span>dans l'interview avec Robert Kramer)</span></span><i><span style="font-family: times;"><span><br /></span></span></i></span></p><p>
</p></div></div></div><p><span style="font-size: medium;"><span><span style="font-family: times;"> </span></span><span><span style="font-family: times;"></span><span style="font-family: verdana;">
</span><span style="font-family: verdana;">
</span><span style="font-family: verdana;">
</span></span></span></p></div><div class="separator" style="clear: both; text-align: center;"><div class="page" title="Page 7"><div class="layoutArea"><div class="column"><p style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: verdana;"><span>Diptyque tourmenté, </span></span><span style="font-family: verdana;"><i><span></span>Troublemakers</i></span><span style="font-family: verdana;"> <span>(tourné à Newark à l’automne
1965, deux ans avant les émeutes) et</span></span><span style="font-family: verdana;"><span>
</span><i>In the Country</i></span><span style="font-family: verdana;"> <span>(1966) offrent deux
aperçus, le premier public et le se</span><span></span><span>cond privé, des frustrations politiques
vécues par la jeunesse blanche mili</span><span></span><span>tante durant cette période explosive
aux États-Unis. Robert Kramer, qui
a produit, écrit et réalisé le second
film, n’apparaît pas au générique du
premier, mais s’y fait entendre, expri</span><span></span><span>mant en partie la même désillusion à
l’égard de la politique traditionnelle
que celle avec laquelle se débat </span><i>In the
Country</i><span>.
</span></span><span style="font-family: verdana; font-style: italic;"> </span><span style="font-family: verdana;">(Jonathan Rosenbaum)</span></span></p><p>
</p></div><p>
</p></div><p>
</p></div><p>
</p></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR5XtGwaRubQp1KpWbeCiPbXQ_WqkMgGJdX9ZJ3ww2JyrnIpaeq8sw5nbgh5xvi6z9xAXx-nWavf5SRtxwwAePXU-MJs574f3CVH6uKLKit42dPfIfc1_PqKBmTxZqiKLfMTxFvTv-9oI/s2048/Screenshot+2021-06-16+at+12.34.32.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1173" data-original-width="2048" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR5XtGwaRubQp1KpWbeCiPbXQ_WqkMgGJdX9ZJ3ww2JyrnIpaeq8sw5nbgh5xvi6z9xAXx-nWavf5SRtxwwAePXU-MJs574f3CVH6uKLKit42dPfIfc1_PqKBmTxZqiKLfMTxFvTv-9oI/w385-h220/Screenshot+2021-06-16+at+12.34.32.jpg" width="385" /></a></div><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"> </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"> </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"> </span></div><p></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-20886144990821583012021-04-28T06:45:00.009-07:002021-04-30T04:49:08.445-07:00HOME MOVIES de Taylor Mead DVD sortie officielle / now available DVD<p><i><br /></i></p><p></p><p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeHgwSYavCw-Sp0g8dkJSdfNDjOgi2Higgv2Z2owZcZg5vWHveCpSZmSfmanu1eMiFEcqNmpXhgZaO7ZqvI6cgWw9HuzgiHzIQjUGSBzZ4OWSfQgmTPQGn8RFjvhrudrs909M7Cf6j6KI/s1440/Mead+HTH+NFJ_12.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeHgwSYavCw-Sp0g8dkJSdfNDjOgi2Higgv2Z2owZcZg5vWHveCpSZmSfmanu1eMiFEcqNmpXhgZaO7ZqvI6cgWw9HuzgiHzIQjUGSBzZ4OWSfQgmTPQGn8RFjvhrudrs909M7Cf6j6KI/w340-h255/Mead+HTH+NFJ_12.jpg" width="340" /><br /></a><span style="font-size: x-small;">Taylor Mead in <i>Hallelujah the Hills</i> (A. Mekas - 1963)</span><br /></p><p style="text-align: left;"></p><div style="text-align: left;"><i>"Art is all a scandal - life tries to be, Taylor Mead succeeds, and I come aclose." (Tennesse Williams)<br /></i><i>"An autistic genius." (Susan Sontag)</i></div><div style="text-align: left;"><i><br /></i><i>Years ago, when we asked Jonas Mekas what films we should publish next on DVD, he said without hesitation, "Taylor Mead's home movies." That should be reason enough to be curious. Mead is known as an actor, clown and improviser, "the first underground movie star", but his own films are rarely screened. Blending documentation of the NY underground, snippets of Mead clowning, Mead's own percussive style of shooting and the humor in his gaze makes these films a valuable glimpse into and product of mid-1960s underground New York culture - in stunning Kodachrome.<br /></i>- Pip Chodorov, Re:voir</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsGOl4L_eSbCSSIJzoqi1e8gCpItLgbXkOXUEKHa-EPR-aExyxiUid2wYlcTH5XM9nT6xGCshCf9JUiYja_TzHLfHZMRxQViEWSCR9uR2OBX1g3GoFCoi8js3MfHiSgkFapLgEMp8ar40/s1492/Mead+HTH+NFJ_5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1492" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsGOl4L_eSbCSSIJzoqi1e8gCpItLgbXkOXUEKHa-EPR-aExyxiUid2wYlcTH5XM9nT6xGCshCf9JUiYja_TzHLfHZMRxQViEWSCR9uR2OBX1g3GoFCoi8js3MfHiSgkFapLgEMp8ar40/w350-h253/Mead+HTH+NFJ_5.jpg" width="350" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><span>Taylor Mead and Bernadette Lafont in </span><i>Notes for Jerome</i><span> (J.Mekas - 1987)</span></span></div><div><span style="font-size: x-small;"><span style="text-align: center;"><br /></span></span></div><div style="text-align: left;"><u style="text-align: left;">FILMS<br /></u><b>My Home Movies</b> 1964, 16mm, 38 min<br /><b>Home Movies Rome/Florence/Venice/Greece</b> 1965, 16mm, 14 min<br /><b>Home Movies NYC to San Diego</b> 1968, 16mm, 19min, silent<br />+ booklet FR/EN<br />DVD5 PAL Interzone • Stereo • color • 4:3 • 71 min </div><div style="text-align: left;"><br /></div><div><br /></div><div><div style="text-align: center;"><a href="https://re-voir.com/shop/en/home/1299-talor-mead-home-movies.html?search_query=mead&results=5" target="_blank">available here</a></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMIekqB8u46DTGcZjuLtPkQCnIrF9vc4-wB0lFlfIyhuTKkcaGP6NrZXjq_C-9XgxTyAH2Y63KqqE0y4N9HNeA3qc7pI5QQQgSFpS9ahGXnqqTiFeLoEB5iYFWeQHBPGTH4HebbIbCjA8/s2048/3131.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1441" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMIekqB8u46DTGcZjuLtPkQCnIrF9vc4-wB0lFlfIyhuTKkcaGP6NrZXjq_C-9XgxTyAH2Y63KqqE0y4N9HNeA3qc7pI5QQQgSFpS9ahGXnqqTiFeLoEB5iYFWeQHBPGTH4HebbIbCjA8/s320/3131.jpg" /></a></div></div><div><div><br /></div><div style="text-align: center;"><a href="https://re-voir.com/shop/en/home/1299-talor-mead-home-movies.html?search_query=mead&results=5">disponible ici</a></div><div><br /></div><div><i><br /></i></div><div><i>"L'art est un vrai scandale - la vie tente de l'être, Taylor Mead réussit, et j'y arrive presque." (Tennesse Williams)</i></div><div><i>"Un génie autiste." (Susan Sontag)</i></div><div><i><br /></i></div><div><i>Lorsqu'un jour nous avons demandé à Jonas Mekas quels films nous devrions éditer en DVD, il a répondu sans hésitations : "Les home-movies de Taylor Mead". C'était suffisant pour attiser notre curiosité. Mead, "la première star du cinéma underground", est connu en tant qu'acteur, clown et improvisateur mais ses propres films sont rarement projetés. Témoignages fascinant de l'underground new-yorkais, dans lequel Mead fait lui-même le pitre, sa façon de filmer au style percutant ainsi que son sens de l'humour font de ces films un aperçu précieux et un produit de la culture avant-garde du milieu des années 1960 - filmé sur de la Kodachrome époustouflante.</i></div><div>- Pip Chodorov, Re:voir</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6lZlOlPlX_nxrIcECNJBCP-6gPdA_PgpRFW_gGc0VuEAZ9AJzDDJIhyphenhyphenkaVcxlUZL9dv9rCUvqa1YM_CcCqt8ZzL0qxi58gDxLWbU39XVJUOtmfPq4OLJDJTidPosC0vffX91nAEzD1bI/s1440/Taylor+Mead+MHM+007.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6lZlOlPlX_nxrIcECNJBCP-6gPdA_PgpRFW_gGc0VuEAZ9AJzDDJIhyphenhyphenkaVcxlUZL9dv9rCUvqa1YM_CcCqt8ZzL0qxi58gDxLWbU39XVJUOtmfPq4OLJDJTidPosC0vffX91nAEzD1bI/w361-h271/Taylor+Mead+MHM+007.jpg" width="361" /></a></div><span style="font-size: x-small;">Andy Warhol and Gerard Malanga in <i>My home movies</i> (T. Mead - 1964)</span></div><div><br /></div><div><u>FILMS</u></div><div><b>My Home Movies</b> 1964, 16mm, 38 min</div><div><b>Home Movies Rome/Florence/Venice/Greece</b> 1965, 16mm, 14 min</div><div><b>Home Movies NYC to San Diego</b> 1968, 16mm, 19min, muet</div><div>+ livret en FR/EN</div><div><br /></div><div>DVD5 PAL Interzone • Stereo • couleur • 4:3 • 71 min </div><div><br /></div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-68085904496491408562021-04-02T06:15:00.003-07:002021-04-02T06:15:48.556-07:00Michael Snow : COVER TO COVER <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilXkcB4Ri8BTvxAWj0xAsBZiL7xCcF54EiX_OCLWdOgnQ1qmyazaKRc2KuShguhNEx1xNN8c70XHhl_UUXGE_zHuXn7CmL2S0jynh6gVeRGFttwLI64bYOG4YDs7RBYhSxRWiwEw20nbI/s2048/20201015_PI_SNOW_06-scaled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1639" data-original-width="2048" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilXkcB4Ri8BTvxAWj0xAsBZiL7xCcF54EiX_OCLWdOgnQ1qmyazaKRc2KuShguhNEx1xNN8c70XHhl_UUXGE_zHuXn7CmL2S0jynh6gVeRGFttwLI64bYOG4YDs7RBYhSxRWiwEw20nbI/w455-h364/20201015_PI_SNOW_06-scaled.jpg" width="455" /></a></div><p>For years an out-of-print rarity, Michael Snow’s classic artist book Cover to Cover is available once again, in a facsimile edition from Light Industry and Primary Information. Never bound by discipline, Snow has remarked that his sculptures were made by a musician, his films by a painter. Flipping through Cover to Cover, which is composed entirely of photographs in narrative sequence, one might describe it as a book made by a filmmaker. Snow himself has called the piece “a quasi-movie,” structured around a precise recto-verso montage.</p><p>Each page features a distinct moment, seen from one perspective on the front, and from a diametrically opposed angle on the back, occasionally pivoting, for instance, between interior and exterior spaces. This organizing principle is complicated by the fact that a given image might be a depiction of the physical environment surrounding the camera or, at other times, a photograph of a photograph. Midway through, the scene is inverted such that the volume must be turned upside-down to be looked at right-side up. The result is an elegant, disorienting study in simultaneity that allows the viewer to enter the work from either end.</p><p>Cover to Cover was originally released by the Press of the Nova Scotia College of Art and Design in 1975. It was part of a now-legendary series of publications, overseen by Kasper König and later Benjamin H.D. Buchloh, that included titles by Michael Asher, Dara Birnbaum, Jenny Holzer, Donald Judd, Claes Oldenburg, Martha Rosler, and Yvonne Rainer, among others. Snow departed from the format of many of the press’ projects, however, producing not a collection of writings, but rather a book that constitutes an artwork in itself.</p><p>Michael Snow (b. 1928) is a Canadian artist whose multidisciplinary oeuvre includes painting, sculpture, video, film, sound, photography, drawing, writing, and music. His art explores the nature of perception, consciousness, language, and temporality and has been the subject of solo exhibitions at the Art Gallery of Ontario (Toronto), the Centre Pompidou (Paris), the Hara Museum of Art (Tokyo), the Museum of Modern Art (New York), and the Palais des Beaux Arts (Brussels). Snow’s key works include experimental films such as Wavelength (1967), Back and Forth (1969), and La Région Centrale (1971), as well as the large-scale public sculptures Flightstop (1979) and The Audience (1988-89). He is the recipient of the Gershon Iskowitz Prize (2011), the Guggenheim Fellowship (1972), the Order of Canada (1982), and the Chevalier de l’ordre des arts et des lettres, France (1995, 2011).</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisvPIixDsqYXZ8kAaxC1goyMAzn3fvrooak5Kf3HSdsnOqKb5BdIyHLrCUcPcfxWlbPXHXg4McyCpnoWSTMrMWPqaq_euPmKygv5vK4NA3usUtyw4z_bZ-AkZOPIog4AyTNmuacuJiwQI/s2048/MichaelSnow_CovertoCover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2048" data-original-width="1576" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisvPIixDsqYXZ8kAaxC1goyMAzn3fvrooak5Kf3HSdsnOqKb5BdIyHLrCUcPcfxWlbPXHXg4McyCpnoWSTMrMWPqaq_euPmKygv5vK4NA3usUtyw4z_bZ-AkZOPIog4AyTNmuacuJiwQI/w262-h341/MichaelSnow_CovertoCover.jpg" width="262" /></a></div><p></p><p style="text-align: center;"><a href="https://re-voir.com/shop/en/books/1287-michael-snow-cover-to-cover.html" target="_blank">available here</a></p><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">- FRANÇAIS </span></div><p style="text-align: left;">Cover to Cover de Michael Snow, qui était une rareté épuisée depuis des années, est à nouveau disponible dans une édition en fac-similé de Light Industry and Primary Information. Jamais lié par la discipline, Snow a remarqué que ses sculptures ont été réalisées par un musicien, ses films par un peintre. En feuilletant Cover to Cover, qui est entièrement composé de photographies en séquence narrative, on pourrait le décrire comme un livre réalisé par un cinéaste. Snow lui-même a qualifié la pièce de «quasi-film», structurée autour d'un montage recto-verso précis.</p><p>Chaque page présente un moment distinct, vu d'un point de vue au recto et d'un angle diamétralement opposé au verso, pivotant parfois, par exemple, entre les espaces intérieurs et extérieurs. Ce principe d'organisation est compliqué par le fait qu'une image donnée peut être une représentation de l'environnement physique entourant la caméra ou, à d'autres moments, une photographie d'une photographie. À mi-chemin, la scène est inversée de telle sorte que le volume doit être inversé pour être regardé à droite vers le haut. Le résultat est une étude élégante et désorientante en simultanéité qui permet au spectateur d'entrer dans l'œuvre de chaque extrémité.</p><p>Cover to Cover a été initialement publié par la presse du Nova Scotia College of Art and Design en 1975. Il faisait partie d'une série de publications désormais légendaire, supervisée par Kasper König et plus tard Benjamin H.D. Buchloh, qui comprenait des titres de Michael Asher, Dara Birnbaum, Jenny Holzer, Donald Judd, Claes Oldenburg, Martha Rosler et Yvonne Rainer, entre autres. Cependant, Snow s’est écarté du format de nombreux projets de presse, ne produisant pas une collection d’écrits, mais plutôt un livre qui constitue une œuvre en soi.</p><p>Michael Snow (né en 1928) est un artiste canadien dont l'œuvre multidisciplinaire comprend la peinture, la sculpture, la vidéo, le cinéma, le son, la photographie, le dessin, l'écriture et la musique. Son art explore la nature de la perception, de la conscience, du langage et de la temporalité et a fait l'objet d'expositions personnelles à l'Art Gallery of Ontario (Toronto), au Centre Pompidou (Paris), au Hara Museum of Art (Tokyo), au Museum of Modern Art (New York) et le Palais des Beaux Arts (Bruxelles). Les œuvres clés de Snow comprennent des films expérimentaux tels que Wavelength (1967), Back and Forth (1969) et La Région Centrale (1971), ainsi que les sculptures publiques à grande échelle Flightstop (1979) et The Audience (1988-89). Il est lauréat du prix Gershon Iskowitz (2011), de la bourse Guggenheim (1972), de l’Ordre du Canada (1982) et du chevalier de l’ordre des arts et des lettres, France (1995, 2011).</p><p style="text-align: center;"><a href="https://re-voir.com/shop/fr/livres/1287-cover-to-cover-de-michael-snow.html">disponible ici</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJURxqzwjjzXFUJHIXLZGKEozPGkWKrd3-VB6dqFiOsWPlyYjJ1kkBVIo2UOWH9lRbV-1Voiam5GmbRvivTB8ooSLs4FEQLb1HeYLRwRFzbvEqwUX_n-SRdA-wmca0Rf0Qv875SXXhFzA/s2048/20201015_PI_SNOW_03-scaled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1639" data-original-width="2048" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJURxqzwjjzXFUJHIXLZGKEozPGkWKrd3-VB6dqFiOsWPlyYjJ1kkBVIo2UOWH9lRbV-1Voiam5GmbRvivTB8ooSLs4FEQLb1HeYLRwRFzbvEqwUX_n-SRdA-wmca0Rf0Qv875SXXhFzA/w454-h363/20201015_PI_SNOW_03-scaled.jpg" width="454" /></a></div><br />revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-74121689304016240812021-03-19T07:01:00.009-07:002021-03-31T09:54:01.811-07:00ROUGES SILENCES d'Alain Mazars DVD sortie officielle / now available DVD<p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><span class="s1" style="font-kerning: none;"><i>Le cinéma peut ne pas être aussi cérébral que le considèrent les expérimentaux purs et durs. Je reste attaché à cette idée : pour tout film, on peut trouver une forme d’expression pour que le spectateur qui se met </i></span></span><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><span class="s1" style="font-kerning: none;"><i>dans un état de réceptivité particulier puisse se captiver. </i></span><i>(A.Mazars, dans l'entretien avec Débordements)</i></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><span style="-webkit-text-stroke-color: rgb(50, 51, 51);"><i><br /></i></span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc;"><span style="-webkit-text-stroke-color: rgb(50, 51, 51);"><i>Chacun contient, plus ou moins visibles, plus ou moins comme des </i></span></span><i data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; -webkit-text-stroke-color: rgb(50, 51, 51); color: #cccccc;">empreintes, les lignes de force de sa vision personnelle du monde </i><i data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; -webkit-text-stroke-color: rgb(50, 51, 51); color: #cccccc;">qui tend à nous « envoûter » et à nous relier à l’onirisme perdu de </i><i data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; -webkit-text-stroke-color: rgb(50, 51, 51); color: #cccccc;">notre enfance, extrait de tout jugement ou arrières-pensées. (F. Devaux)</i></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc;"><span style="-webkit-text-stroke-color: rgb(50, 51, 51);"><i><br /></i></span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc;"><span style="-webkit-text-stroke-color: rgb(50, 51, 51);"><i><br /></i></span></span></p><div class="separator" style="clear: both; text-align: center;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5f8DQgAbhR6e3ZxKxgms13r3fKEnj4NpsI0Mweqe-oHqk5gMtdMlJtahU5mF8g9hCYJsnFnArzY-_E4DZt1M2bRI_j_4SJYQiG1NtspjNEgQyFB_2fImTtmO8aYxQ_Ta-wzrQCtxsxGg/s1417/mazars2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5f8DQgAbhR6e3ZxKxgms13r3fKEnj4NpsI0Mweqe-oHqk5gMtdMlJtahU5mF8g9hCYJsnFnArzY-_E4DZt1M2bRI_j_4SJYQiG1NtspjNEgQyFB_2fImTtmO8aYxQ_Ta-wzrQCtxsxGg/s320/mazars2.jpg" width="320" /></a></i></span></div><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><u><br /></u></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><u>Films</u></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;">ROUGES SILENCES 1978, 16mm, couleur, stéréo, 53 mins</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;">LE JARDIN DES AGES 1982, 16mm & n/b, couleur, stéréo, 31 mins</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;">VISAGES PERDUS 1983, 16mm, couleur, stéréo, 13 mins</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;">ACTUS 1984, 16mm, couleur, stéréo, 23 mins</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;">+ un livret de 48 pages de textes de Frédérique Devaux</span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><br /></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><a href="https://re-voir.com/shop/en/alain-mazars/1235-rouges-silences-alain-mazars.html" target="_blank">DVD disponible ici</a><br /></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><br /></p><div class="separator" style="clear: both; text-align: center;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAglRulwA-ug0tDWebM-2u-LoUi9f2NAHjaCzxvD2m8KSOu04abYM28Xp6kgb_KktQ-LZbuDdyMr2AJi-55lEh8DZs3epTSlcaZmeDmV_aXYpFMPejDuqbyxSxngQp6aOY1zSuG1jSh0U/s2048/Mazars_rouges+silences_jaquette_recto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1456" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAglRulwA-ug0tDWebM-2u-LoUi9f2NAHjaCzxvD2m8KSOu04abYM28Xp6kgb_KktQ-LZbuDdyMr2AJi-55lEh8DZs3epTSlcaZmeDmV_aXYpFMPejDuqbyxSxngQp6aOY1zSuG1jSh0U/s320/Mazars_rouges+silences_jaquette_recto.jpg" /></a></span><div class="separator" style="clear: both; margin-left: 1em; margin-right: 1em; text-align: center;"><br /></div></div><div><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><span style="font-family: inherit;"><a href="https://re-voir.com/shop/en/alain-mazars/1235-rouges-silences-alain-mazars.html" target="_blank">DVD available here</a></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: center;"><i><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><br /></span></i></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><span style="-webkit-text-stroke-color: rgb(50, 51, 51);"><i>Cinema may not be as cerebral as die-hard experimentalists consider it. I remain attached to this idea: for any film, we can find a form of expression so that the spectator who puts himself in a state of particular sensitivity can be captivated. </i></span><span style="-webkit-text-stroke-color: rgb(50, 51, 51);">(A.Mazars, in the interview with Débordements)</span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><br /></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><i><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc;"><span style="-webkit-text-stroke-color: rgb(50, 51, 51);">Each one contains, more or less visibly, more or less like imprints, </span></span><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; -webkit-text-stroke-color: rgb(50, 51, 51); color: #cccccc;">the key elements of his personal world vision which endeavors to </span><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; -webkit-text-stroke-color: rgb(50, 51, 51); color: #cccccc;">“spellbind” us and reconnect us with our childhood’s lost dreams, </span></i><i data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; -webkit-text-stroke-color: rgb(50, 51, 51); color: #cccccc;">outside of any judgment or ulterior motives.</i><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; -webkit-text-stroke-color: rgb(50, 51, 51); color: #cccccc;"> (F.Devaux)</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><br /></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibw2jocjrsTlt4kAwojR7GLMBZkL4cpMF2kjpL9Kx7Xs4vO3MaP34KyIIEfK5RzOFzNk3ITWZVf23318ZfAMjZPX8OyFBHr0qxC0P4nEuvUg2M7oNXw3z9oJPU8uMQsiHIiXhRhZUQIfM/s619/mazars.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="470" data-original-width="619" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibw2jocjrsTlt4kAwojR7GLMBZkL4cpMF2kjpL9Kx7Xs4vO3MaP34KyIIEfK5RzOFzNk3ITWZVf23318ZfAMjZPX8OyFBHr0qxC0P4nEuvUg2M7oNXw3z9oJPU8uMQsiHIiXhRhZUQIfM/s320/mazars.png" width="320" /></a></span></div><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; text-decoration-line: underline;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; text-decoration-line: underline;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;">Films</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; text-decoration-line: underline;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;">RED SILENCES 1978, 16mm, color, stereo, 53 mins</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;">THE GARDEN OF AGES 1982, 16mm & b/w, color, stereo, 31 mins</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;">LOST FACES 1983, 16mm, color, stereo, 13 mins</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;">ACTUS 1984, 16mm, color, stereo, 23 mins</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 22px;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;"><span class="s2" style="font-kerning: none;"></span><br /></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(50, 51, 51); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; color: #cccccc; font-family: inherit;">+ 48 page booklet with texts by Frédérique Devaux</span></span></p><p class="p2" data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; -webkit-text-stroke-color: rgb(50, 51, 51); color: #323333; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 22px; text-align: center;"><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Nxn8XaSw74o" width="320" youtube-src-id="Nxn8XaSw74o"></iframe></div><br /><p class="p2" data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; -webkit-text-stroke-color: rgb(50, 51, 51); color: #323333; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 22px; text-align: center;"><br /></p><p class="p2" data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; -webkit-text-stroke-color: rgb(50, 51, 51); color: #323333; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 22px; text-align: center;"><br /></p><p class="p2" data-darkreader-inline-color="" style="--darkreader-inline-color: #c8c3bc; -webkit-text-stroke-color: rgb(50, 51, 51); color: #323333; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 22px; text-align: center;"><br /></p></div>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-5193040801672750222021-02-16T03:59:00.004-08:002021-03-04T03:14:57.105-08:00SUNLOVE DVD from Jean-Jacques Lebel now available/sortie officielle du DVD SUNLOVE<p>We are happy to bring a bit of sunshine to the new year with our newest DVD release SUNLOVE with 2 films by French filmmaker and artist Jean-Jacques Lebel. This collection brings together 2 works from 1967 and are supplemented by two bonus documentaries from the same era. The DVD includes a 56-page booklet with a conversation between Lebel and Pip Chodorov.<br /></p><p><span style="text-decoration: underline;">FILMS</span><br />SUNLOVE 1967, 16mm, color & b/w, stereo, 32 mins<br />L'ETAT NORMAL 1967, 16mm, color, silent, 41 mins</p><p>
<span style="text-decoration: underline;">BONUS</span><br /> EXPRMNTL 4 KNOKKE – Claudia von Alemann 1967, 16mm, color, mono, 43 mins<br />EXPRMNTL 1967 – Jud Yalkut 1967, 16mm, color, mono, 20 mins<br /><br />DVD9 PAL Interzone • Stereo • Color & B/W • 16:9 • 136 min •FR/EN subtitles</p><p>DVD available here : <a href="http://bit.ly/37j0o6k">http://bit.ly/37j0o6k</a><br /> <br /></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/X-vsUg1gyw4" width="320" youtube-src-id="X-vsUg1gyw4"></iframe></div><p> </p><p>-FRANÇAIS-<br />Nous sommes heureux d'apporter un peu de soleil à la nouvelle année avec notre nouvelle sortie DVD SUNLOVE avec 2 films du cinéaste et artiste français Jean-Jacques Lebel. Cette collection rassemble 2 œuvres de 1967 et est complétée par deux documentaires bonus de la même époque. Le DVD comprend un livret de 56 pages avec une conversation entre Lebel et Pip Chodorov.<br /><br /><u>FILMS</u><br />SUNLOVE 1967, 16 mm, couleur et n / b, stéréo, 32 min<br />L'ETAT NORMAL 1967, 16mm, couleur, silencieux, 41 min<br /><br /><u>BONUS</u><br />EXPRMNTL 4 KNOKKE - Claudia von Alemann 1967, 16 mm, couleur, mono, 43 min<br />EXPRMNTL 1967 - Jud Yalkut 1967, 16 mm, couleur, mono, 20 min<br /><br />DVD9 PAL Interzone • Stéréo • Couleur et N / B • 16: 9 • 136 min • Sous-titres FR / EN<br /><br />DVD disponible ici: <a href="http://bit.ly/37j0o6k">http://bit.ly/37j0o6k</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGRDTZiA8W20YQ8kso-avQRidcE37LtMga2GF7lbspGst5l3KUPPO-DKvDovFAeNYpGs45JRaTvfQXbl3RxFtaFBLEmecXZNQ8S-yCgWudPZELOiL9tamsIF36P_04Et1TJN1kLfIvAE8/s2048/Jaquette+LEBEL+SunLove_recto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1446" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGRDTZiA8W20YQ8kso-avQRidcE37LtMga2GF7lbspGst5l3KUPPO-DKvDovFAeNYpGs45JRaTvfQXbl3RxFtaFBLEmecXZNQ8S-yCgWudPZELOiL9tamsIF36P_04Et1TJN1kLfIvAE8/s320/Jaquette+LEBEL+SunLove_recto.jpg" /></a></div><br /><p><br /></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-52027251427526563122020-11-02T04:50:00.000-08:002020-11-02T04:50:01.766-08:00REVOIR and The Film-makers' Cooperative collaboration<p><span style="font-size: small;"><span style="font-family: georgia;"><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeWaxJX-jzhbiMJ3c_Ii7t7fY42Smwv9LDI6hyphenhypheneZIcBcxn_VcaqzFPFpCRgdMb_FZcRrwisl2wisILZp7A2Vv4oBJkvb9jGgdfBmm3-qEOBNlyZpa3tgZQrcN6EG20GhrN8tLraMEczTU/s1503/revoir-logo-BLACK-square.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1503" data-original-width="1503" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeWaxJX-jzhbiMJ3c_Ii7t7fY42Smwv9LDI6hyphenhypheneZIcBcxn_VcaqzFPFpCRgdMb_FZcRrwisl2wisILZp7A2Vv4oBJkvb9jGgdfBmm3-qEOBNlyZpa3tgZQrcN6EG20GhrN8tLraMEczTU/w200-h200/revoir-logo-BLACK-square.jpg" width="200" /></a></span></span></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUcZlTBj0KSuhyb8FNAQWAdcg0fpBMKJ0p82oBWMKucytu2n-o8aQV-pfwRzONQHV8Fp_wjStV2wl9BnwWSvMXkmTb6XzVQpnTlsLOizOHlZBk1wqEvsJqdP4KVcaszzLs6uwr74qQAx4/s225/filmmakers_cooperative_logo.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="225" data-original-width="225" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUcZlTBj0KSuhyb8FNAQWAdcg0fpBMKJ0p82oBWMKucytu2n-o8aQV-pfwRzONQHV8Fp_wjStV2wl9BnwWSvMXkmTb6XzVQpnTlsLOizOHlZBk1wqEvsJqdP4KVcaszzLs6uwr74qQAx4/w200-h200/filmmakers_cooperative_logo.jpg" width="200" /></a></span></span></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: georgia;"><br /></span></span></td></tr></tbody></table><span style="font-size: small;"><span style="font-family: georgia;">RE:VOIR is excited to be working closely with The Film-makers' Cooperative in New York City on a collection of DVD releases. These releases will feature work from filmmakers from the Cooperative's catalog, many of whom have yet to have their films published on DVD. Two titles from this collection have already been released.<br /><br /><br />The first release is from the filmmaker MM Serra, who whose tireless efforts as director of the Cooperative alongside the rest of her team have for the last 30 years kept their organization a vibrant source of exchange and diffusion of experimental cinema works around the world. <i>(ART)core</i> features 15 of MM's video and film works, which deal with a variety of themes including LGBTQ+ issues, portraits of artists, marginal figures "marked by a lush sensuality, a concern for light, (and) play..." (Barbara Hammer).<br /><a href="https://re-voir.com/shop/en/film-revoir-experiemental-film-dvd/1163-mm-serra-artcore.html" target="_blank"><br />Serra DVD available here</a></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Egkdpm98_6pbh4D_WdxzTci4sU2XzSJnkWT1_u_TqT1Qs42iosOgsstCwV0pLkBtDsD_cErXmImqOLikc8q0nPHIWhynhOoLwG_jrlw3lqPlNhKpbMTMeAdlZqTp9YFNe9FN62O62mY/s1414/WRAPPER-MM-Serra_FRONT.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1414" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Egkdpm98_6pbh4D_WdxzTci4sU2XzSJnkWT1_u_TqT1Qs42iosOgsstCwV0pLkBtDsD_cErXmImqOLikc8q0nPHIWhynhOoLwG_jrlw3lqPlNhKpbMTMeAdlZqTp9YFNe9FN62O62mY/s320/WRAPPER-MM-Serra_FRONT.jpg" /></a></span></span></div><span style="font-size: small;"><span style="font-family: georgia;"><span style="text-decoration: underline;">FILMS</span><br /></span></span><p><span style="font-size: small;"><span style="font-family: georgia;"><b>Darling International</b> 1999, 16mm, b&w, 22 min<br /><b>Bitch Beauty</b> 2011, 16mm, color, 7 min <br /><b>enduring ornament</b> 2015, 16mm on digital, color, 14 min<br /><b>Mary Magdalene</b> 2017, Super8/16mm/video, color, 5 min<br /><b>real to reel Mama</b> 1982, 16mm, color, 20 min<br /><b>Chop off</b> 2008, Super8/16mm/ video, color, 6 min<br /><b>Double Your Pleasure</b> 2002, 16mm, b/w, 4 min<br /><b>Jack Smith's apartmen</b>t 1990, VHS on digital, color, 8 min<br /><b>L'amour Fou</b> 1992, 16mm, color, 17 min<br /><b>eye etc</b> 1982, 16mm, color, silent, 5 min<br /><b>Turner</b> 1987, 16mm, color, 3 min<br /><b>Framed</b> 1984, 16mm, color, 1:30 min<br /><b>Nightfall</b> 1984, 16mm, color & b/w, 1:30 min<br /><b>NYC</b> 1985, 16mm, color & b/w, 1 min<br /><b>PPII</b> 1986, 16mm, color, 1 min<br /><br /> </span></span></p><p><span style="font-size: small;"><span style="font-family: georgia;">The next release in this series is a collection of 15 films by the artist and poet Storm de Hirsch. <i>Mythology of the Soul </i>includes a large collection of the artist's work on Super 8 and 16mm from the 1960s.<br /><br />"A further exploration into the color of ritual, the color of thought; a
journey through the underworld of sensory derangement. A very beautiful
work! The abstractions drawn directly on film are like the paintings of
Miro; moving at full speed to the rhythm of an African beat."<br />-Dominique Noguez<br /><br /><a href="https://re-voir.com/shop/en/storm-de-hirsch/1181-storm-de-hirsch-mythology-for-the-soul.html" target="_blank">De Hirsch DVD available here</a><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyEUyIeDZK9WISErQrj__9w1AZTS40RLUO9WfYhtu2BoRwSH6hpCTauhIO4abRZmLnfgYdepW5dAjzP19foiS2Rq7iDuqygPel9BceO23BZLox7nW5VckkMeMPCrCe1HBU5RJSbOkJbEY/s2048/WRAPPER+Storm+de+Hirsch+recto.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1447" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyEUyIeDZK9WISErQrj__9w1AZTS40RLUO9WfYhtu2BoRwSH6hpCTauhIO4abRZmLnfgYdepW5dAjzP19foiS2Rq7iDuqygPel9BceO23BZLox7nW5VckkMeMPCrCe1HBU5RJSbOkJbEY/w251-h355/WRAPPER+Storm+de+Hirsch+recto.jpg" width="251" /></a></span></span></div><p><span style="font-size: small;"><span style="font-family: georgia;"><span style="text-decoration: underline;">FILMS</span><br /><b>Aristotle</b> 1965, Super8, color, silent, 3 min<br /></span></span> <span style="font-size: small;"><span style="font-family: georgia;"><b>Divinations</b> 1964, 16mm, color, sound, 6 min<br /></span></span> <span style="font-size: small;"><span style="font-family: georgia;"><b>Deep in the Mirror Embedded</b> 1965, Super8, color, silent, 14 min<br /><b>The Recurring Dream</b> 1965, Super8, color, silent, 3 min<br /></span></span> <span style="font-size: small;"><span style="font-family: georgia;"><b>Malevich at the Guggenheim</b> 1965, Super8, color, silent, 6 min<br /><b>September Express</b> 1973, Super8, color, silent, 6 min<br /></span></span> <span style="font-size: small;"><span style="font-family: georgia;"><b>Lace of Summer</b> 1973, Super8, color, silent, 4 min<br /></span></span> <span style="font-size: small;"><span style="font-family: georgia;"><b>Silently, Bearing Totem of a Bird</b> 1962, Super8, color, silent, 7 min<br /><b>Ives House</b> 1965, Super8, color, silent, 11 min<br /></span></span> <span style="font-size: small;"><span style="font-family: georgia;"><b>A Reticule of Love</b> 1963, 16mm, color, silent, 3 min<br /></span></span> <span style="font-size: small;"><span style="font-family: georgia;"><b>The Tattooed Man</b> 1969, 16mm, color, sound, 35 min<br /></span></span> <span style="font-size: small;"><span style="font-family: georgia;"><b>Shaman</b> 1967, 16mm, color, sound, 12 min<br /></span></span> <span style="font-size: small;"><span style="font-family: georgia;"><b>Journey Around a Zero</b> 1964, 16mm, b&w, sound, 3 min<br /></span></span> <span style="font-size: small;"><span style="font-family: georgia;"><b>Third Eye Butterfly</b> 1968, double screen 16mm, color, sound, 9 min<br /><b>Peyote Queen</b> 1965, 16mm, color, sound, 9 min</span></span></p><p><span style="font-size: small;"><span style="font-family: georgia;">Two more releases are forthcoming in this series. Next month, a collection of 6 films from filmmaker Larry Gottheim will be available.<br /><br /></span></span>
</p><p><span style="font-size: small;"><span style="font-family: georgia;">"Elegant yet rustic in its simplicity of execution, <i>Barn Rushes</i>
is tugged gently toward different sides of the set by hints of color
and motion interactions, positive and negative spaces and the unyielding
delivery on one of the great apotheoses of poetic cinema at fade-out
time."<br />-Tony Conrad<br /><a href="https://re-voir.com/shop/fr/cineastes-de-g-a-h/1198-larry-gottheim-fog-line.html" target="_blank"><br />Gottheim DVD available here</a><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEVYEdGup7emBCJqtYSOaC23L9W72ouFK9EufoSJK2tKdyaJKsHq4rOtnz61Dty9_C3DxaeNwIPP2w4T_38DXS-QdBcD2PwAia7QqeLNuuf46R3lyXmJwbyRiCWMCgcbRtReiN9RDr2yk/s2048/WRAPPER_recto+Fog+Line+-+Gottheim.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1485" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEVYEdGup7emBCJqtYSOaC23L9W72ouFK9EufoSJK2tKdyaJKsHq4rOtnz61Dty9_C3DxaeNwIPP2w4T_38DXS-QdBcD2PwAia7QqeLNuuf46R3lyXmJwbyRiCWMCgcbRtReiN9RDr2yk/s320/WRAPPER_recto+Fog+Line+-+Gottheim.jpg" /></a></span></span></div><span style="font-size: small;"><span style="font-family: georgia;"><br /></span></span><p><span style="font-size: small;"><span style="font-family: georgia;"><span style="text-decoration: underline;">FILMS</span><br /><b>Blues</b> 1970, 16mm, color, silent, 8:30 min<br /><b>Corn</b> 1970, 16mm, color, silent, 10:30 min<br /><b>Fog Line</b> 1970, 16mm, color, silent, 11 min<br /><b>Doorway</b> 1971, 16mm, b/w, silent, 7:30 min<br /><b>Harmonica</b> 1971, 16mm, color, mono, 10:30 min<br /><b>Thought</b> 1971, 16mm, color, silent, 7 min<br /><b>Barn Rushes</b> 1971, 16mm, color, silent, 34 min</span></span></p><p><span style="font-size: small;"><span style="font-family: georgia;"> </span></span></p><p><span style="font-size: small;"><span style="font-family: georgia;"> </span></span></p><p><span style="font-size: small;"><span style="font-family: georgia;"> </span></span></p><p><span style="font-size: small;"><span style="font-family: georgia;"> </span></span></p><p><span style="font-size: small;"><span style="font-family: georgia;">And finally for 2021, a collection of home movies by the artist and actor Taylor Mead are slated for release in April, 2021.<br /><br /><br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvyXOHm7rYrgEqUa1enuAS3hYl4WbJkdIFaMpT9T3NC3odSCDK-0tVkd-5CTeO0cThqb4D1WB7kHjiDn4_tgrT7LrUlspGMSVTqQT8zM0b_sSsr4ZI1VG60Xiw_eMixIFFDqB-PCe-IaU/s1437/Mead_MY-HOME-MOVIES-5.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1077" data-original-width="1437" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvyXOHm7rYrgEqUa1enuAS3hYl4WbJkdIFaMpT9T3NC3odSCDK-0tVkd-5CTeO0cThqb4D1WB7kHjiDn4_tgrT7LrUlspGMSVTqQT8zM0b_sSsr4ZI1VG60Xiw_eMixIFFDqB-PCe-IaU/s320/Mead_MY-HOME-MOVIES-5.png" width="320" /></a></span></span></div><span style="font-size: small;"><span style="font-family: georgia;"><br /></span></span><p><span style="font-size: small;"><span style="font-family: georgia;"><u>FILMS</u><br /><b>My Home Movies</b> 1964, Super 8, color, sound, 38min<br /><b>Home Movies (Rome/Florence/Venice/Greece) </b>1965, Super 8, color, sound, 14min<br /><b>Home Movies (NYC to San Diego)</b> 1968, Super 8, color, sound, 19min</span></span></p><p style="text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;"> </span></span></p><p style="text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;"> Keep posted on our upcoming releases and all other news by signing up to our newsletter :</span><span style="font-family: georgia;"> <a class="moz-txt-link-freetext" href="https://bit.ly/37du3vr">https://bit.ly/37du3vr</a></span></span></p><p> </p><p><br /></p><p><br /></p>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.comtag:blogger.com,1999:blog-6781798351729906355.post-29286365675868022382020-10-24T04:13:00.036-07:002021-02-10T04:21:42.274-08:00New DVD release/screening Klonaris/Thomadaki - The Angel Cycle : Selected Works<div class="" dir="auto"><div class="ecm0bbzt hv4rvrfc ihqw7lf3 dati1w0a" data-ad-comet-preview="message" data-ad-preview="message" id="jsc_c_6n"><div class="j83agx80 cbu4d94t ew0dbk1b irj2b8pg"><div class="qzhwtbm6 knvmm38d"><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql"><u><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdLNkMChZjZtiP_22dnqdJeY28y_PW4Ak3NT0TWZp75jM30kRLztDWsOmvh3wLms7nqZ6X3AWgv9IDbhNGN41gaZGruZwqNPZYycGp7oPVUlbof66V6wCLjrebSeuLhTH2DufbOjKrDE4/s2048/DIGIPACK_CYCLEDELANGE_cover_recto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1477" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdLNkMChZjZtiP_22dnqdJeY28y_PW4Ak3NT0TWZp75jM30kRLztDWsOmvh3wLms7nqZ6X3AWgv9IDbhNGN41gaZGruZwqNPZYycGp7oPVUlbof66V6wCLjrebSeuLhTH2DufbOjKrDE4/s320/DIGIPACK_CYCLEDELANGE_cover_recto.jpg" /></a></div><br />ENGLISH</u></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">The release of the DVD "LE CYCLE DE L'ANGEL" will take place during the screening at Cinéma l'Archipel on October 26 in the presence of Katerina Thomadaki.<br />>> PROGRAM <<<br /><b>Sauro Bellini</b><br />Maria Klonaris, 1982<br />Super 8 colors, transferred to 2K by Maria Klonaris and Katerina Thomadaki, 13 ', silent<br /><b>Falls. Desert. Syn</b><br />Katerina Thomadaki, 1983-1985<br /><b>Super 8 colors</b>, digital copy of the 35mm transfer made by the CNC under the direction of Klonaris / Thomadaki, 18 ', silent<br /><b>Personal Statement</b><br />1994, analog video, b & w and colors, 8 ', sound<br /><b>Requiem for the 20th century</b><br />1994, analog video, b & w and colors, 14 ', sound<br /><b>Angel Scan</b><br />2007, digital video, colors, 25 ', sound<br /> </div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">IN THE PRESENCE OF KATERINA THOMADAKI<br />MONDAY 26 OCTOBER<br />6:30 PM • CINEMA L'ARCHIPEL<br />16 bvd de Strasbourg, Paris 10<br />Price: € 8, reduced € 6.5<br />UGC, CIP and MK2 cards accepted<br /> </div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">Each month, the Futur Antérieur cycle offers a screening at the Cinéma l'Archipel in conjunction with the Re: Voir editions.<br />The DVD launch will take place during the screening at Cinéma l'Archipel on October 26 in the presence of Katerina Thomadaki.<br /> </div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">In October, the filmmakers Klonaris / Thomadaki are in the spotlight with the edition of a choice of films from their Cycle of the Angel, produced since 1985. This vast series of works is inspired by a medical photograph by intersex. found by Maria Klonaris in her father's archives. The digipack box set and the booklet, designed by Katerina Thomadaki, are richly illustrated and include comments from philosophers, researchers, historians and art critics, including Nicole Brenez, Marie-José Mondzain, Christian Gattinoni, Edmond Couchot, Christine Buci-Glucksmann, Louis-José Lestocart <br /></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql"> </div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql"><u>FRENCH </u><br /></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">Le
lancement du DVD "LE CYCLE DE L'ANGE" aura lieu lors de la séance au
Cinéma l'Archipel le 26 octobre en présence de Katerina Thomadaki.</div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">>> PROGRAMME DE LA SÉANCE <<</div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql"><b>Sauro Bellini</b><br />Maria Klonaris, 1982<br />Super 8 couleurs, transféré en 2K par Maria Klonaris et Katerina Thomadaki, 13', silencieux</div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql"><b>Chutes. Désert. Syn</b><br />Katerina Thomadaki, 1983-1985<br /><b>Super
8 couleurs</b>, copie numérique du transfert en 35mm réalisé par le CNC
sous la direction de Klonaris/Thomadaki, 18', silencieux</div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql"><b>Personal Statement</b><br />1994, vidéo analogique, n&b et couleurs, 8', sonore</div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql"><b>Requiem pour le XXe siècle</b><br />1994, vidéo analogique, n&b et couleurs, 14', sonore</div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql"><b>Angel Scan</b><br />2007, vidéo numérique, couleurs, 25', sonore</div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql"> </div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">EN PRÉSENCE DE KATERINA THOMADAKI</div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">LUNDI 26 OCTOBRE <br />18H30 • CINÉMA L'ARCHIPEL<br />16 bvd de Strasbourg, Paris 10</div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">Tarif : 8€, réduit 6,5€<br />Cartes UGC, CIP et MK2 acceptées</div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql"> </div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">Chaque mois, le cycle Futur Antérieur propose une séance au Cinéma l'Archipel en lien avec les éditions Re:Voir. </div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql"> </div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">Le lancement du DVD aura lieu lors de la séance au Cinéma l'Archipel le 26 octobre en présence de Katerina Thomadaki.</div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql">En
octobre, les cinéastes Klonaris/Thomadaki sont à l'honneur avec
l'édition d'un choix de films de leur Cycle de l'Ange, réalisé depuis
1985. Cette vaste série d'œuvres est inspirée d'une photographie
médicale d'intersexuel.le trouvée par Maria Klonaris dans les archives
de son père. Le coffret digipack et le livret, conçus par Katerina
Thomadaki, sont richement illustrés et comprennent des commentaires de
philosophes, chercheuses, historien.ne.s et critiques d'art, parmi
lesquel.les Nicole Brenez, Marie-José Mondzain, Christian Gattinoni,
Edmond Couchot, Christine Buci-Glucksmann, Louis-José Lestocart</div></div></div></div></div>revoirhttp://www.blogger.com/profile/06583839504759968637noreply@blogger.com