⁞ L’Hasard Photographique ⁞

Sofia Silva, Untitled, from L’Hasard Photographique, 2013/2014 Sofia Silva, Untitled, from L’Hasard Photographique, 2013/2014 Sofia Silva, Untitled, from L’Hasard Photographique, 2013/2014 Sofia Silva, Untitled, from L’Hasard Photographique, 2013/2014 Sofia Silva, Untitled, from L’Hasard Photographique, 2013/2014 Sofia Silva, Untitled, from L’Hasard … Continue reading ⁞ L’Hasard Photographique ⁞

٠ “Either abolish your reverences or – yourselves!” ٠

stills from The Turin Horse, by Béla Tarr, 2011 Like Kierkegaard, Nietzsche presents the ‘coming generations’ with the ‘terrifying Either/Or: “Either abolish your reverences or — yourselves!”’ CREATIVE SUBLIMATION OF INSTINCT INTELLECTUAL TOLERANCE SELF-SUFFICIENCY GENEROSITY NOBILITY HEROISM COURAGE VITALITY TRADITION … Continue reading ٠ “Either abolish your reverences or – yourselves!” ٠

٠ Varda’s feminist tableaux (l’une chante, l’autre pas) ٠

Feminist performance, the Engelian way PAPA ENGELS La double journée pauvre maman c’est bien épuisant et c’est mal payé Friedrich Engels l’avait dit dans la famille aujourd’hui l’homme est le bourgeois et la femme est le prolétariat Il avait raison papa Engels il avait raison car à la maison l’homme est le bourgeois et la femme est le prolétariat C’est papa le chef pauvre maman le seigneur du fief le roi tout puissant (…) Continue reading ٠ Varda’s feminist tableaux (l’une chante, l’autre pas) ٠

٠ Varda: Qu’est-ce qu’être femme? ٠

Each time I see a poster like that, I think it’s absurd to constantly see naked women. It feels like I’m on the poster. Each time a woman is undressed to sell a product… – It’s me they undress. – Me they display. – Me they despise. – Me they desire. – Me they criticize. – Me they buy. – Me they order by phone. – Me they pay for by check or cash. Me they offer as fodder for men’s desire. – Go on, keep complaining! Soon we’ll no longer desire you. How sorry you’ll be! – I have … Continue reading ٠ Varda: Qu’est-ce qu’être femme? ٠

┐ Gabriel Abrantes & Daniel Schmidt, “I hate Portugal” & “I hate Algarve” └

from 30th of May to the 6th of June, the complete film can be seen online here “Palácios is a film about Portugal, and the line about hating Portugal and the Algarve is indicative of how part of that project was made. Gabriel wanted to make a film in Portugal, and was very interested in exploring cinema’s relation to nation, particularly as national myth machine (especially in the US, from Griffith’s Birth of a Nation to Bigelow’s Zero dark Thirty). Gabriel wanted to be quite direct, with blunt and broad statements about Portugal, such as “I hate Portugal”. Then Daniel … Continue reading ┐ Gabriel Abrantes & Daniel Schmidt, “I hate Portugal” & “I hate Algarve” └

┐ Object on Screen └

still from Untamed Heart, 1993 II. Pleasure in Looking/Fascination with the Human Form A. The cinema offers a number of possible pleasures. One is scopophilia. There are circumstances in which looking itself is a source of pleasure, just as, in the reverse formation, there is pleasure in being looked at. Originally. in his Three Essays on Sexuality, Freud isolated scopophilia as one of the component instincts of sexuality which exist as drives quite independently of the erotogenic zones. At this point he associated scopophilia with taking other people as objects, subjecting them to controlling and curious gaze. His particular examples … Continue reading ┐ Object on Screen └

┐ Eric Rondepierre └

© Eric Rondepierre, Couple, passant, 1996-98 © Eric Rondepierre, Confidence, 1996-98 © Eric Rondepierre, Le Voyeur, 1996-98 “That impossible photogram, as Roland Barthes said. An object which is not (even) an object, but at the same time is actually two objects. It doesn’t (really) belong to the cinema or (simply) to photography ; it is more than a photograph yet less than a film. It is, therefore, a sort of axis or fold, the precise crossing point (punctum) between cinema and photography. Eminently paradoxical, the photogram is the touchstone of Eric Rondepierre’s work which is acutely conscious of the delicate … Continue reading ┐ Eric Rondepierre └

┐ WR: Mysteries of the Organism └

“As for Wilhelm Reich himself, upon whose ideas and career the film is largely based, today he seems less like a sex radical than like a crypto-conservative without knowing it. Reich’s glorification of the orgasm is actually quite heteronormative and prescriptive, as well as being entirely caught up within the discursive deployment of sexuality-as-liberation, described and denaturalized by Foucault. (Indeed, as far back as the 1950s, Norman O. Brown had already denounced Reich’s privileging of “normal adult genital sexuality” over the multiple potentials of “polymorphous perversity”). Reich’s later ideas about orgone energy, for which he was prosecuted and persecuted by … Continue reading ┐ WR: Mysteries of the Organism └

┐ roots & fruits #8 – Diogo Simões └

© Diogo Simões, Untitled, from the series Miratejo © Diogo Simões, Untitled, from the series Miratejo © Diogo Simões, Untitled, from the series Miratejo © Diogo Simões, Untitled, from the series Miratejo Influenced by current-events (this is a circumstantial analogy) Diogo’s (b.1988, Miratejo, PT) photographs remind me of a kind of portrait of youth that makes me think of Gus van Sant’s universe. If I had seen this series a few months ago I would probably relate it to projects within the realm of the medium itself and think about the meaning of portrait and nostalgia in the history of … Continue reading ┐ roots & fruits #8 – Diogo Simões └

┐ Chris Marker └

“Chris Marker, an enigmatic figure in French cinema who avoided publicity and was loath to screen his films yet was often ranked with countrymen Alain Resnais and Jean-Luc Godard as an avant-garde master, died at his home in Paris on Sunday, his 91st birthday. (…) Critic Pauline Kael called “La Jetee” “very possibly the greatest science-fiction movie yet made.” Film critic and historian David Thomson went further, declaring in a 2002 article in the British newspaper the Guardian that “La Jetee” could be “the one essential movie ever made.” Its theme may sound familiar to contemporary audiences because it inspired … Continue reading ┐ Chris Marker └

┐ Theo Angelopoulos └

  Theo Angelopoulos departs, today, at 76, ironically run over by an off duty cop while working on set for his next film. It’s a sad moment for true cinema lovers but for the Greeks as well. Neither the kind of martyr they need today, nor the kind of sorrow or brief grieving mass hysteria in the media. “Etermity and a Day” and “Ulysses’ Gaze” are masterpieces of which I am now reminded by this unfortunate happening. I shall see them again in the next few days and think of a no man’s land. Wishing him all eternity and a … Continue reading ┐ Theo Angelopoulos └

║ Aaron Hobson ║

© Aaron Hobson, Far Away, from the series Femme Vérité, 2009 © Aaron Hobson, Subterranean Encounter, from the series Even Darker, 2007 “Where does the image begin for you: the setting, the character, a story you’re trying to build? Definitely the setting. I try to find a location that has interesting natural lighting, stand there for minute, then return to my beaten-up 2001 Hyundai full of old clothes, a shovel, empty wine bottles, duffel bags, McDonald’s bags, and choose what I think might work. It is very spontaneous, almost instinctual. I like to keep the storylines minimal and leave that … Continue reading ║ Aaron Hobson ║