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COME INTO MY SLEEP
Abel Ferrara’s Body Snatchers (1994) is a film about the radical substitution of Same by Same, a fable of the Alter Ego – this Alter Ego conceived as the very truth of the Self. The film’s narrative rests on the supplanting of a Mother by a Stepmother. On the basis of that, key motifs displace and replace each other in a malefic circuit of unimaginable substitution. ABORIGINAL ART AND FILM: THE POLITICS OF REPRESENTATION 1. See Philip Jones, ‘Perceptions of Aboriginal Art: A History’ in Peter Sutton (ed.), Dreamings (Ringwood: Penguin, 1988), pp. 176- 179. 2. Ibid, p. 179. The history of the changed status of Aboriginal artists – including visual and performing artists and filmmakers – from anonymous artefact makers whose works were collected until the 1970s by museums, anthropologists and pastoralistsHORROR IN BRASILIA
Horror in Brasilia. Besides an excessive and unjustified rigidity in the official program selection, shortened in quantity (only six features and ten shorts) and also quality (that white fly), the 11th Brasília Film Festival is introducing another novelty in 1978: the end of ‘extra comfort’, meaning that, not even people that come towork
COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914MOMENTS OF CHOICE
Orson Welles filmed the sleigh-ride scene for The Magnificent Ambersons (1942) neither in a studio nor on location. He insisted on building his set inside the largest available refrigeration plant. THE SECRET LIFE OF OBJECTS Sometimes a set is so striking, making such an indelible impression, that you cannot forget it. For example, the courtroom set at the end of Leave Her to Heaven (1945) is so foregrounded that I immediately recognised it, while dial-flipping, in 20 th Century Fox’s The Black Swan, made three years earlier in 1942, also serving as a courtroom, but with palm trees outside the attention-gettingFRIEDKIN OUT
2. Thomas Clagett, William Friedkin: Films of Aberration, Obsession and Reality (Los Angeles: Silman-James Press, 2003). 3. The murder of Eric in Central Park. We never see The Killer's face in this scene (it is Richard Cox, according to the production reports), and adding to the puzzle is the fact first reported by Thomas Clagett, (2) who learned it from members of the production team that JOHN FORD, OR THE ELOQUENCE OF GESTURE 1. See Tag Gallagher’s comentary: ‘As do dozens of Ford pictures, Dr Bull begins and ends with a linking vehicle (a train here and in Liberty Valance, a steamboat in The Sun Shines Bright, a stagecoach in Fort Apache, etc.), which suggests the community's self-containment and isolation from the outer world.’OZU'S ANGRY WOMEN
1. David Bordwell, Ozu and The Poetics of Cinema (London: British Film Institute, 1988), p. 308. Even the formalist David Bordwell, when discussing Late Spring (1949) in his book Ozu and The Poetics of Cinema, wrote that ‘Ozu can still depict the self-sacrificing parent as solitary, in a fashion analogous to the epilogue of The Only Son (1936)’, and he classified Late Spring as a parent-film. 'THE DODDERING RELICS OF A LOST CAUSE': JOHN FORD'S THE The Sun Shines Bright had a particular significance in the Deep South because of its Southern details. But so did other films by other important directors during this era, sometimes for less direct reasons. I don't think anyone in my neck of the woods had a clear idea of who Howard Hawks was during the early '50s, but three of his films – The Thing, The Big Sky, and Land of the PharaohsCOME INTO MY SLEEP
Abel Ferrara’s Body Snatchers (1994) is a film about the radical substitution of Same by Same, a fable of the Alter Ego – this Alter Ego conceived as the very truth of the Self. The film’s narrative rests on the supplanting of a Mother by a Stepmother. On the basis of that, key motifs displace and replace each other in a malefic circuit of unimaginable substitution. ABORIGINAL ART AND FILM: THE POLITICS OF REPRESENTATION 1. See Philip Jones, ‘Perceptions of Aboriginal Art: A History’ in Peter Sutton (ed.), Dreamings (Ringwood: Penguin, 1988), pp. 176- 179. 2. Ibid, p. 179. The history of the changed status of Aboriginal artists – including visual and performing artists and filmmakers – from anonymous artefact makers whose works were collected until the 1970s by museums, anthropologists and pastoralistsHORROR IN BRASILIA
Horror in Brasilia. Besides an excessive and unjustified rigidity in the official program selection, shortened in quantity (only six features and ten shorts) and also quality (that white fly), the 11th Brasília Film Festival is introducing another novelty in 1978: the end of ‘extra comfort’, meaning that, not even people that come towork
COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914MOMENTS OF CHOICE
Orson Welles filmed the sleigh-ride scene for The Magnificent Ambersons (1942) neither in a studio nor on location. He insisted on building his set inside the largest available refrigeration plant. THE SECRET LIFE OF OBJECTS Sometimes a set is so striking, making such an indelible impression, that you cannot forget it. For example, the courtroom set at the end of Leave Her to Heaven (1945) is so foregrounded that I immediately recognised it, while dial-flipping, in 20 th Century Fox’s The Black Swan, made three years earlier in 1942, also serving as a courtroom, but with palm trees outside the attention-gettingFRIEDKIN OUT
2. Thomas Clagett, William Friedkin: Films of Aberration, Obsession and Reality (Los Angeles: Silman-James Press, 2003). 3. The murder of Eric in Central Park. We never see The Killer's face in this scene (it is Richard Cox, according to the production reports), and adding to the puzzle is the fact first reported by Thomas Clagett, (2) who learned it from members of the production team that JOHN FORD, OR THE ELOQUENCE OF GESTURE 1. See Tag Gallagher’s comentary: ‘As do dozens of Ford pictures, Dr Bull begins and ends with a linking vehicle (a train here and in Liberty Valance, a steamboat in The Sun Shines Bright, a stagecoach in Fort Apache, etc.), which suggests the community's self-containment and isolation from the outer world.’OZU'S ANGRY WOMEN
1. David Bordwell, Ozu and The Poetics of Cinema (London: British Film Institute, 1988), p. 308. Even the formalist David Bordwell, when discussing Late Spring (1949) in his book Ozu and The Poetics of Cinema, wrote that ‘Ozu can still depict the self-sacrificing parent as solitary, in a fashion analogous to the epilogue of The Only Son (1936)’, and he classified Late Spring as a parent-film. 'THE DODDERING RELICS OF A LOST CAUSE': JOHN FORD'S THE The Sun Shines Bright had a particular significance in the Deep South because of its Southern details. But so did other films by other important directors during this era, sometimes for less direct reasons. I don't think anyone in my neck of the woods had a clear idea of who Howard Hawks was during the early '50s, but three of his films – The Thing, The Big Sky, and Land of the PharaohsHORROR IN BRASILIA
Horror in Brasilia. Besides an excessive and unjustified rigidity in the official program selection, shortened in quantity (only six features and ten shorts) and also quality (that white fly), the 11th Brasília Film Festival is introducing another novelty in 1978: the end of ‘extra comfort’, meaning that, not even people that come towork
THE SECRET LIFE OF OBJECTS Sometimes a set is so striking, making such an indelible impression, that you cannot forget it. For example, the courtroom set at the end of Leave Her to Heaven (1945) is so foregrounded that I immediately recognised it, while dial-flipping, in 20 th Century Fox’s The Black Swan, made three years earlier in 1942, also serving as a courtroom, but with palm trees outside the attention-getting JOHN FORD, OR THE ELOQUENCE OF GESTURE 1. See Tag Gallagher’s comentary: ‘As do dozens of Ford pictures, Dr Bull begins and ends with a linking vehicle (a train here and in Liberty Valance, a steamboat in The Sun Shines Bright, a stagecoach in Fort Apache, etc.), which suggests the community's self-containment and isolation from the outer world.’FIRST ON THE MOON
In 2005, Alexei Fedorchenko, a Russian director known until then only to a narrow circle of documentary fans through his works David (2002) and Children of the White Grave (2003), made a film titled First on the Moon.The film simultaneously continued and derailed the trajectory Fedorchenko had been following: First on the Moon became one of the first attempts in Russia to experiment with mockFRIEDKIN OUT
2. Thomas Clagett, William Friedkin: Films of Aberration, Obsession and Reality (Los Angeles: Silman-James Press, 2003). 3. The murder of Eric in Central Park. We never see The Killer's face in this scene (it is Richard Cox, according to the production reports), and adding to the puzzle is the fact first reported by Thomas Clagett, (2) who learned it from members of the production team that A CLOSED DOOR THAT LEAVES US GUESSING The problem comes afterwards, because after the first film, after Workers Leaving the Lumière Factory (1895, La Sortie des Usines Lumière) by the Lumières, there is a second film, again workers leaving a factory made by the same Brothers Lumière.It is here that things deteriorate, go awry, become complicated, because the Lumières were not very happy with the appearance of the workers THE HYPOTHESIS OF THE STOLEN PAINTING The literary pretext of The Hypothesis of the Stolen Painting, however, is a novel by Klossowski, commentator on de Sade, actor in Bresson’s Au hasard, Balthazar (1966), brother of the painter Balthus and himself a painter of some distinction. His pictures are erotic mainly through the unchaste gestures and gazes by which thefigures
WRITING CINEMA, THINKING CINEMA Writing Cinema, Thinking Cinema It was like this - through writing - that one day I began to think about cinema, and discovered another way of prolonging its vision, of realising it. It was in the summer of 1959, after having seen The 400 Blows at the San Sebastian Film Festival. At the end of the screening, I came out onto the street,moved.
PHILIPPE GARREL'S L'ENFANT SECRET (1982) Reprinted with permission from Ciné journal vol. 2 1983-1986 (Paris: Cahiers du cinéma, 1998). Originally appeared in Libération 19 February 1983. Translated by Fergus Daly and Adrian Martin. THE '60S WITHOUT COMPROMISE: WATCHING WARHOL'S FILMS What his account left out is the ad line that brought five hundred people to watch Sleep: ‘A film so unusual it may never be shown again.’. The scene in the lobby was a lot more exciting than the movie being projected inside, but soon enough Getz gave in, at least partly, by offering free passes for another show at the Cinema to anyone who wanted one.INDEX ROUGE 12
Bandis, Martin, McDonald The Wayward Cloud. 10 : Nicole Brenez BodySnatchers
ABORIGINAL ART AND FILM: THE POLITICS OF REPRESENTATION 1. See Philip Jones, ‘Perceptions of Aboriginal Art: A History’ in Peter Sutton (ed.), Dreamings (Ringwood: Penguin, 1988), pp. 176- 179. 2. Ibid, p. 179. The history of the changed status of Aboriginal artists – including visual and performing artists and filmmakers – from anonymous artefact makers whose works were collected until the 1970s by museums, anthropologists and pastoralistsMOMENTS OF CHOICE
Orson Welles filmed the sleigh-ride scene for The Magnificent Ambersons (1942) neither in a studio nor on location. He insisted on building his set inside the largest available refrigeration plant. COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914 THE SECRET LIFE OF OBJECTS Sometimes a set is so striking, making such an indelible impression, that you cannot forget it. For example, the courtroom set at the end of Leave Her to Heaven (1945) is so foregrounded that I immediately recognised it, while dial-flipping, in 20 th Century Fox’s The Black Swan, made three years earlier in 1942, also serving as a courtroom, but with palm trees outside the attention-gettingOZU'S ANGRY WOMEN
1. David Bordwell, Ozu and The Poetics of Cinema (London: British Film Institute, 1988), p. 308. Even the formalist David Bordwell, when discussing Late Spring (1949) in his book Ozu and The Poetics of Cinema, wrote that ‘Ozu can still depict the self-sacrificing parent as solitary, in a fashion analogous to the epilogue of The Only Son (1936)’, and he classified Late Spring as a parent-film. JOHN FORD, OR THE ELOQUENCE OF GESTURE 1. See Tag Gallagher’s comentary: ‘As do dozens of Ford pictures, Dr Bull begins and ends with a linking vehicle (a train here and in Liberty Valance, a steamboat in The Sun Shines Bright, a stagecoach in Fort Apache, etc.), which suggests the community's self-containment and isolation from the outer world.’ A PROPOS DE NICE AND THE EXTREMELY NECESSARY, PERMANENT Jean Vigo’s À propos de Nice (1930) shows how social injustice is inscribed within flesh itself, on walls, within the very fabric of urban organisation, in the concrete occupation of space (rich beaches/poor quarters) and time (leisure/work). It describes injustice’s physical dimension, reconstitutes its symbolic function, demonstrates its violence. ON THE UNCERTAIN NATURE OF CINEMA The Ghost. At the beginning of the ‘50s, in the last century, Manoel de Oliveira had only directed a few documentaries and one fiction feature, Aniki-Bobó, filmed in 1942.Cut off from the film industry, he dedicated himself entirely to agriculture. PHILIPPE GARREL'S L'ENFANT SECRET (1982) Reprinted with permission from Ciné journal vol. 2 1983-1986 (Paris: Cahiers du cinéma, 1998). Originally appeared in Libération 19 February 1983. Translated by Fergus Daly and Adrian Martin.INDEX ROUGE 12
Bandis, Martin, McDonald The Wayward Cloud. 10 : Nicole Brenez BodySnatchers
ABORIGINAL ART AND FILM: THE POLITICS OF REPRESENTATION 1. See Philip Jones, ‘Perceptions of Aboriginal Art: A History’ in Peter Sutton (ed.), Dreamings (Ringwood: Penguin, 1988), pp. 176- 179. 2. Ibid, p. 179. The history of the changed status of Aboriginal artists – including visual and performing artists and filmmakers – from anonymous artefact makers whose works were collected until the 1970s by museums, anthropologists and pastoralistsMOMENTS OF CHOICE
Orson Welles filmed the sleigh-ride scene for The Magnificent Ambersons (1942) neither in a studio nor on location. He insisted on building his set inside the largest available refrigeration plant. COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914 THE SECRET LIFE OF OBJECTS Sometimes a set is so striking, making such an indelible impression, that you cannot forget it. For example, the courtroom set at the end of Leave Her to Heaven (1945) is so foregrounded that I immediately recognised it, while dial-flipping, in 20 th Century Fox’s The Black Swan, made three years earlier in 1942, also serving as a courtroom, but with palm trees outside the attention-gettingOZU'S ANGRY WOMEN
1. David Bordwell, Ozu and The Poetics of Cinema (London: British Film Institute, 1988), p. 308. Even the formalist David Bordwell, when discussing Late Spring (1949) in his book Ozu and The Poetics of Cinema, wrote that ‘Ozu can still depict the self-sacrificing parent as solitary, in a fashion analogous to the epilogue of The Only Son (1936)’, and he classified Late Spring as a parent-film. JOHN FORD, OR THE ELOQUENCE OF GESTURE 1. See Tag Gallagher’s comentary: ‘As do dozens of Ford pictures, Dr Bull begins and ends with a linking vehicle (a train here and in Liberty Valance, a steamboat in The Sun Shines Bright, a stagecoach in Fort Apache, etc.), which suggests the community's self-containment and isolation from the outer world.’ A PROPOS DE NICE AND THE EXTREMELY NECESSARY, PERMANENT Jean Vigo’s À propos de Nice (1930) shows how social injustice is inscribed within flesh itself, on walls, within the very fabric of urban organisation, in the concrete occupation of space (rich beaches/poor quarters) and time (leisure/work). It describes injustice’s physical dimension, reconstitutes its symbolic function, demonstrates its violence. ON THE UNCERTAIN NATURE OF CINEMA The Ghost. At the beginning of the ‘50s, in the last century, Manoel de Oliveira had only directed a few documentaries and one fiction feature, Aniki-Bobó, filmed in 1942.Cut off from the film industry, he dedicated himself entirely to agriculture. PHILIPPE GARREL'S L'ENFANT SECRET (1982) Reprinted with permission from Ciné journal vol. 2 1983-1986 (Paris: Cahiers du cinéma, 1998). Originally appeared in Libération 19 February 1983. Translated by Fergus Daly and Adrian Martin.INDEX ROUGE 12
Bandis, Martin, McDonald The Wayward Cloud. 10 : Nicole Brenez BodySnatchers
JOHN FORD, OR THE ELOQUENCE OF GESTURE 1. See Tag Gallagher’s comentary: ‘As do dozens of Ford pictures, Dr Bull begins and ends with a linking vehicle (a train here and in Liberty Valance, a steamboat in The Sun Shines Bright, a stagecoach in Fort Apache, etc.), which suggests the community's self-containment and isolation from the outer world.’BEYOND ASSIMILATION
1. Scott Murray, 'Tracey Moffatt, Night Cries: A Rural Tragedy', Cinema Papers 79 (1990), p.22. It is not good to give an academic talk straight after a screening of Night Cries: A Rural Tragedy (1989).I've seen other people do this, and the result is always 'grating', as the director has said of the song at the end of the film – its message 'unwelcome and inappropriate' (1) after the mother COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914 THE SECRET LIFE OF OBJECTS Sometimes a set is so striking, making such an indelible impression, that you cannot forget it. For example, the courtroom set at the end of Leave Her to Heaven (1945) is so foregrounded that I immediately recognised it, while dial-flipping, in 20 th Century Fox’s The Black Swan, made three years earlier in 1942, also serving as a courtroom, but with palm trees outside the attention-gettingFORD'S DEPTH
Despite several notable eclipses during the last half-century, in the long run it seems that it is John Ford’s impressive body of work – much more than the efforts of his critical supporters – that has succeeded in winning over many of his former detractors and most of the sceptical or indifferent observers, so that today his status as a first-rate filmmaker is generally admitted everywhere. THE ISTER: AN EXCERPT The Ister is a film based on Martin Heidegger's lectures on Friedrich Hölderlin's poetry, delivered in 1942 at Freiburg University.It is a journey from the mouth of the Danube River on the Black Sea Coast to its source in the Black Forest. The following excerpt from the film commences at 1585 kilometres from the source of the Danube in what was at the time of filming named Yugoslavia, andFRIEDKIN OUT
2. Thomas Clagett, William Friedkin: Films of Aberration, Obsession and Reality (Los Angeles: Silman-James Press, 2003). 3. The murder of Eric in Central Park. We never see The Killer's face in this scene (it is Richard Cox, according to the production reports), and adding to the puzzle is the fact first reported by Thomas Clagett, (2) who learned it from members of the production team that ON THE UNCERTAIN NATURE OF CINEMA The Ghost. At the beginning of the ‘50s, in the last century, Manoel de Oliveira had only directed a few documentaries and one fiction feature, Aniki-Bobó, filmed in 1942.Cut off from the film industry, he dedicated himself entirely to agriculture. 'THE DODDERING RELICS OF A LOST CAUSE': JOHN FORD'S THE The Sun Shines Bright had a particular significance in the Deep South because of its Southern details. But so did other films by other important directors during this era, sometimes for less direct reasons. I don't think anyone in my neck of the woods had a clear idea of who Howard Hawks was during the early '50s, but three of his films – The Thing, The Big Sky, and Land of the PharaohsINDEX ROUGE 12
Bandis, Martin, McDonald The Wayward Cloud. 10 : Nicole Brenez BodySnatchers
ABORIGINAL ART AND FILM: THE POLITICS OF REPRESENTATION 1. See Philip Jones, ‘Perceptions of Aboriginal Art: A History’ in Peter Sutton (ed.), Dreamings (Ringwood: Penguin, 1988), pp. 176- 179. 2. Ibid, p. 179. The history of the changed status of Aboriginal artists – including visual and performing artists and filmmakers – from anonymous artefact makers whose works were collected until the 1970s by museums, anthropologists and pastoralistsMOMENTS OF CHOICE
Orson Welles filmed the sleigh-ride scene for The Magnificent Ambersons (1942) neither in a studio nor on location. He insisted on building his set inside the largest available refrigeration plant. COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914 THE SECRET LIFE OF OBJECTS Sometimes a set is so striking, making such an indelible impression, that you cannot forget it. For example, the courtroom set at the end of Leave Her to Heaven (1945) is so foregrounded that I immediately recognised it, while dial-flipping, in 20 th Century Fox’s The Black Swan, made three years earlier in 1942, also serving as a courtroom, but with palm trees outside the attention-gettingOZU'S ANGRY WOMEN
1. David Bordwell, Ozu and The Poetics of Cinema (London: British Film Institute, 1988), p. 308. Even the formalist David Bordwell, when discussing Late Spring (1949) in his book Ozu and The Poetics of Cinema, wrote that ‘Ozu can still depict the self-sacrificing parent as solitary, in a fashion analogous to the epilogue of The Only Son (1936)’, and he classified Late Spring as a parent-film. JOHN FORD, OR THE ELOQUENCE OF GESTURE 1. See Tag Gallagher’s comentary: ‘As do dozens of Ford pictures, Dr Bull begins and ends with a linking vehicle (a train here and in Liberty Valance, a steamboat in The Sun Shines Bright, a stagecoach in Fort Apache, etc.), which suggests the community's self-containment and isolation from the outer world.’ A PROPOS DE NICE AND THE EXTREMELY NECESSARY, PERMANENT Jean Vigo’s À propos de Nice (1930) shows how social injustice is inscribed within flesh itself, on walls, within the very fabric of urban organisation, in the concrete occupation of space (rich beaches/poor quarters) and time (leisure/work). It describes injustice’s physical dimension, reconstitutes its symbolic function, demonstrates its violence. ON THE UNCERTAIN NATURE OF CINEMA The Ghost. At the beginning of the ‘50s, in the last century, Manoel de Oliveira had only directed a few documentaries and one fiction feature, Aniki-Bobó, filmed in 1942.Cut off from the film industry, he dedicated himself entirely to agriculture. PHILIPPE GARREL'S L'ENFANT SECRET (1982) Reprinted with permission from Ciné journal vol. 2 1983-1986 (Paris: Cahiers du cinéma, 1998). Originally appeared in Libération 19 February 1983. Translated by Fergus Daly and Adrian Martin.INDEX ROUGE 12
Bandis, Martin, McDonald The Wayward Cloud. 10 : Nicole Brenez BodySnatchers
ABORIGINAL ART AND FILM: THE POLITICS OF REPRESENTATION 1. See Philip Jones, ‘Perceptions of Aboriginal Art: A History’ in Peter Sutton (ed.), Dreamings (Ringwood: Penguin, 1988), pp. 176- 179. 2. Ibid, p. 179. The history of the changed status of Aboriginal artists – including visual and performing artists and filmmakers – from anonymous artefact makers whose works were collected until the 1970s by museums, anthropologists and pastoralistsMOMENTS OF CHOICE
Orson Welles filmed the sleigh-ride scene for The Magnificent Ambersons (1942) neither in a studio nor on location. He insisted on building his set inside the largest available refrigeration plant. COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914 THE SECRET LIFE OF OBJECTS Sometimes a set is so striking, making such an indelible impression, that you cannot forget it. For example, the courtroom set at the end of Leave Her to Heaven (1945) is so foregrounded that I immediately recognised it, while dial-flipping, in 20 th Century Fox’s The Black Swan, made three years earlier in 1942, also serving as a courtroom, but with palm trees outside the attention-gettingOZU'S ANGRY WOMEN
1. David Bordwell, Ozu and The Poetics of Cinema (London: British Film Institute, 1988), p. 308. Even the formalist David Bordwell, when discussing Late Spring (1949) in his book Ozu and The Poetics of Cinema, wrote that ‘Ozu can still depict the self-sacrificing parent as solitary, in a fashion analogous to the epilogue of The Only Son (1936)’, and he classified Late Spring as a parent-film. JOHN FORD, OR THE ELOQUENCE OF GESTURE 1. See Tag Gallagher’s comentary: ‘As do dozens of Ford pictures, Dr Bull begins and ends with a linking vehicle (a train here and in Liberty Valance, a steamboat in The Sun Shines Bright, a stagecoach in Fort Apache, etc.), which suggests the community's self-containment and isolation from the outer world.’ A PROPOS DE NICE AND THE EXTREMELY NECESSARY, PERMANENT Jean Vigo’s À propos de Nice (1930) shows how social injustice is inscribed within flesh itself, on walls, within the very fabric of urban organisation, in the concrete occupation of space (rich beaches/poor quarters) and time (leisure/work). It describes injustice’s physical dimension, reconstitutes its symbolic function, demonstrates its violence. ON THE UNCERTAIN NATURE OF CINEMA The Ghost. At the beginning of the ‘50s, in the last century, Manoel de Oliveira had only directed a few documentaries and one fiction feature, Aniki-Bobó, filmed in 1942.Cut off from the film industry, he dedicated himself entirely to agriculture. PHILIPPE GARREL'S L'ENFANT SECRET (1982) Reprinted with permission from Ciné journal vol. 2 1983-1986 (Paris: Cahiers du cinéma, 1998). Originally appeared in Libération 19 February 1983. Translated by Fergus Daly and Adrian Martin.INDEX ROUGE 12
Bandis, Martin, McDonald The Wayward Cloud. 10 : Nicole Brenez BodySnatchers
BEYOND ASSIMILATION
1. Scott Murray, 'Tracey Moffatt, Night Cries: A Rural Tragedy', Cinema Papers 79 (1990), p.22. It is not good to give an academic talk straight after a screening of Night Cries: A Rural Tragedy (1989).I've seen other people do this, and the result is always 'grating', as the director has said of the song at the end of the film – its message 'unwelcome and inappropriate' (1) after the mother COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914 THE ISTER: AN EXCERPT The Ister is a film based on Martin Heidegger's lectures on Friedrich Hölderlin's poetry, delivered in 1942 at Freiburg University.It is a journey from the mouth of the Danube River on the Black Sea Coast to its source in the Black Forest. The following excerpt from the film commences at 1585 kilometres from the source of the Danube in what was at the time of filming named Yugoslavia, andFORD'S DEPTH
Despite several notable eclipses during the last half-century, in the long run it seems that it is John Ford’s impressive body of work – much more than the efforts of his critical supporters – that has succeeded in winning over many of his former detractors and most of the sceptical or indifferent observers, so that today his status as a first-rate filmmaker is generally admitted everywhere. THE SECRET LIFE OF OBJECTS Sometimes a set is so striking, making such an indelible impression, that you cannot forget it. For example, the courtroom set at the end of Leave Her to Heaven (1945) is so foregrounded that I immediately recognised it, while dial-flipping, in 20 th Century Fox’s The Black Swan, made three years earlier in 1942, also serving as a courtroom, but with palm trees outside the attention-getting ON THE UNCERTAIN NATURE OF CINEMA The Ghost. At the beginning of the ‘50s, in the last century, Manoel de Oliveira had only directed a few documentaries and one fiction feature, Aniki-Bobó, filmed in 1942.Cut off from the film industry, he dedicated himself entirely to agriculture.FRIEDKIN OUT
2. Thomas Clagett, William Friedkin: Films of Aberration, Obsession and Reality (Los Angeles: Silman-James Press, 2003). 3. The murder of Eric in Central Park. We never see The Killer's face in this scene (it is Richard Cox, according to the production reports), and adding to the puzzle is the fact first reported by Thomas Clagett, (2) who learned it from members of the production team that PHILIPPE GARREL'S L'ENFANT SECRET (1982) Reprinted with permission from Ciné journal vol. 2 1983-1986 (Paris: Cahiers du cinéma, 1998). Originally appeared in Libération 19 February 1983. Translated by Fergus Daly and Adrian Martin. 'THE DODDERING RELICS OF A LOST CAUSE': JOHN FORD'S THE The Sun Shines Bright had a particular significance in the Deep South because of its Southern details. But so did other films by other important directors during this era, sometimes for less direct reasons. I don't think anyone in my neck of the woods had a clear idea of who Howard Hawks was during the early '50s, but three of his films – The Thing, The Big Sky, and Land of the PharaohsROUGE INDEX 1
Index of Issue 1 of the magazine ROUGE. ABORIGINAL ART AND FILM: THE POLITICS OF REPRESENTATION 1. See Philip Jones, ‘Perceptions of Aboriginal Art: A History’ in Peter Sutton (ed.), Dreamings (Ringwood: Penguin, 1988), pp. 176- 179. 2. Ibid, p. 179. The history of the changed status of Aboriginal artists – including visual and performing artists and filmmakers – from anonymous artefact makers whose works were collected until the 1970s by museums, anthropologists and pastoralistsA TV DANTE - ROUGE
In his section of A TV Dante (Cantos 9-14), Ruiz moves back and forth between four types of audio-visual syntax:. 1. Classical Hollywood syntax, epitomised by shot/reverse shot exchanges with strong eyeline looks. Canto 9 begins with a long-held establishing shot that shows the relative positions and eyelines of a group of characters.COME INTO MY SLEEP
Abel Ferrara’s Body Snatchers (1994) is a film about the radical substitution of Same by Same, a fable of the Alter Ego – this Alter Ego conceived as the very truth of the Self. The film’s narrative rests on the supplanting of a Mother by a Stepmother. On the basis of that, key motifs displace and replace each other in a malefic circuit of unimaginable substitution. COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914 IN AND AROUND THE PARADINE CASE 1. Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock (New York: Ballantine, 1983) p. 294. The Paradine Case (1948) was the last film Alfred Hitchcock directed under his contract with David O. Selznick. It was, as Donald Spoto puts it, ‘a pet project for Selznick’ (1) who had been planning to make it since the publication of Robert Hitchens’ novel in 1933.OZU'S ANGRY WOMEN
1. David Bordwell, Ozu and The Poetics of Cinema (London: British Film Institute, 1988), p. 308. Even the formalist David Bordwell, when discussing Late Spring (1949) in his book Ozu and The Poetics of Cinema, wrote that ‘Ozu can still depict the self-sacrificing parent as solitary, in a fashion analogous to the epilogue of The Only Son (1936)’, and he classified Late Spring as a parent-film. HOMAGE TO CAROLE LANDIS Chiefly known as a B film actress who later played a few supporting roles in A pictures at Fox, Carole Landis (1919-1948) appeared in overfifty films.
PHILIPPE GARREL'S L'ENFANT SECRET (1982) Reprinted with permission from Ciné journal vol. 2 1983-1986 (Paris: Cahiers du cinéma, 1998). Originally appeared in Libération 19 February 1983. Translated by Fergus Daly and Adrian Martin. 'THE DODDERING RELICS OF A LOST CAUSE': JOHN FORD'S THE The Sun Shines Bright had a particular significance in the Deep South because of its Southern details. But so did other films by other important directors during this era, sometimes for less direct reasons. I don't think anyone in my neck of the woods had a clear idea of who Howard Hawks was during the early '50s, but three of his films – The Thing, The Big Sky, and Land of the PharaohsROUGE INDEX 1
Index of Issue 1 of the magazine ROUGE. ABORIGINAL ART AND FILM: THE POLITICS OF REPRESENTATION 1. See Philip Jones, ‘Perceptions of Aboriginal Art: A History’ in Peter Sutton (ed.), Dreamings (Ringwood: Penguin, 1988), pp. 176- 179. 2. Ibid, p. 179. The history of the changed status of Aboriginal artists – including visual and performing artists and filmmakers – from anonymous artefact makers whose works were collected until the 1970s by museums, anthropologists and pastoralistsA TV DANTE - ROUGE
In his section of A TV Dante (Cantos 9-14), Ruiz moves back and forth between four types of audio-visual syntax:. 1. Classical Hollywood syntax, epitomised by shot/reverse shot exchanges with strong eyeline looks. Canto 9 begins with a long-held establishing shot that shows the relative positions and eyelines of a group of characters.COME INTO MY SLEEP
Abel Ferrara’s Body Snatchers (1994) is a film about the radical substitution of Same by Same, a fable of the Alter Ego – this Alter Ego conceived as the very truth of the Self. The film’s narrative rests on the supplanting of a Mother by a Stepmother. On the basis of that, key motifs displace and replace each other in a malefic circuit of unimaginable substitution. COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914 IN AND AROUND THE PARADINE CASE 1. Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock (New York: Ballantine, 1983) p. 294. The Paradine Case (1948) was the last film Alfred Hitchcock directed under his contract with David O. Selznick. It was, as Donald Spoto puts it, ‘a pet project for Selznick’ (1) who had been planning to make it since the publication of Robert Hitchens’ novel in 1933.OZU'S ANGRY WOMEN
1. David Bordwell, Ozu and The Poetics of Cinema (London: British Film Institute, 1988), p. 308. Even the formalist David Bordwell, when discussing Late Spring (1949) in his book Ozu and The Poetics of Cinema, wrote that ‘Ozu can still depict the self-sacrificing parent as solitary, in a fashion analogous to the epilogue of The Only Son (1936)’, and he classified Late Spring as a parent-film. HOMAGE TO CAROLE LANDIS Chiefly known as a B film actress who later played a few supporting roles in A pictures at Fox, Carole Landis (1919-1948) appeared in overfifty films.
PHILIPPE GARREL'S L'ENFANT SECRET (1982) Reprinted with permission from Ciné journal vol. 2 1983-1986 (Paris: Cahiers du cinéma, 1998). Originally appeared in Libération 19 February 1983. Translated by Fergus Daly and Adrian Martin. 'THE DODDERING RELICS OF A LOST CAUSE': JOHN FORD'S THE The Sun Shines Bright had a particular significance in the Deep South because of its Southern details. But so did other films by other important directors during this era, sometimes for less direct reasons. I don't think anyone in my neck of the woods had a clear idea of who Howard Hawks was during the early '50s, but three of his films – The Thing, The Big Sky, and Land of the PharaohsROUGE INDEX 1
Index of Issue 1 of the magazine ROUGE. Bandis, Martin, McDonald TheWayward Cloud
THE FILM WE ACCOMPANY From the beginning, there is the way that the first shot of a tree takes its time, all the time in the world. Two films open similarly on an apparently interminable shot of a tree: Otar Iosseliani’s And Then There Was Light (Et la lumière fut, 1989), where we follow an immense freshly-felled trunk pulled through the forest, and Manoel de Oliveira’s No, or the Vainglory of Command (1990LAND OF THE DEAD
Land of the Dead is George A. Romero's return to the genre he is most identified with.Released twenty years after Day of the Dead, the film contains both his development of a Zombie Saga begun by the short treatment Anubis, as well as the restoration of many radical, anti-establishment elements characterising his original 1982 screenplay for Day of the Dead. 'THE DODDERING RELICS OF A LOST CAUSE': JOHN FORD'S THE The Sun Shines Bright had a particular significance in the Deep South because of its Southern details. But so did other films by other important directors during this era, sometimes for less direct reasons. I don't think anyone in my neck of the woods had a clear idea of who Howard Hawks was during the early '50s, but three of his films – The Thing, The Big Sky, and Land of the Pharaohs DOWNFALL: ALMOST THE SAME OLD STORY Almost the Same Old Story. Klaus Neumann. For a long time, Joachim C. Fest, a journalist and high-profile German historian of the Third Reich, has been fascinated by the historical figure of Adolf Hitler. One of his books on Hitler informs a two-and-a-half hour film. It THE RICH BOY: THE RETICENT ARTISTRY OF ROBERT MONTGOMERY I. Clarence Brown's 1931 film Inspiration is a negligible yet intermittently lively and evocative Garbo vehicle: a shuttle train in her still venturesome advance into sound.The movie (an ‘updated’ adaptation of Alphonse Daudet's 19th-century novel Sappho) enlists her lingering Swedish accents in the chic nasality of upper-crust post-World War I Paris. MAURICE PIALAT: A CINEMA OF SURRENDER The scene which best illustrates Pialat’s hunt for reality is undoubtedly the famous dinner sequence (almost fifteen minutes long) towards the end of A nos amours (1983), when the father (Pialat himself), presumed dead, arrives at the family home to disrupt the celebrations. It’s a scene where all the best strands of Pialat’s cinema come together, and above all where he lays bare in its SERIOUS MOTHLIGHT: FOR STAN BRAKHAGE (1933-2003) 1. Jonathan Rosenbaum, Film: The Front Line 1983 (Denver: Arden Press, 1983), pp. 24-25. Just as a certain tradition (the John Cage tradition) of contemporary experimental music invites and then demands an ongoing sophistication of one’s capacity to hear structures, relations, the dancing, shifting formations of sonic material, Brakhage’s films propose a tutoring of the eye, a rapturous THE GATE OF HEAVEN, THE PLACE OF THE OTHER A painting, just a painting. But a painting that, like the majority of bodies and objects within the movie, carries a vast memory. PERHAPS THE FLOOD WILL DESTROY ALL, In Tsai's most recent cinema feature, Goodbye, Dragon Inn (2003) - he has since made a telemovie for children and a video short, Moonlight Over the Water (2004) - the story, as usual, is deliberately simple. It takes place in an abandoned movie theatre that is condemned to be shut down. Only half a dozen or so lonely souls are watching a famous old Hong Kong martial arts movie, King Hu'sROUGE INDEX 1
Index of Issue 1 of the magazine ROUGE. ABORIGINAL ART AND FILM: THE POLITICS OF REPRESENTATION 1. See Philip Jones, ‘Perceptions of Aboriginal Art: A History’ in Peter Sutton (ed.), Dreamings (Ringwood: Penguin, 1988), pp. 176- 179. 2. Ibid, p. 179. The history of the changed status of Aboriginal artists – including visual and performing artists and filmmakers – from anonymous artefact makers whose works were collected until the 1970s by museums, anthropologists and pastoralistsA TV DANTE - ROUGE
In his section of A TV Dante (Cantos 9-14), Ruiz moves back and forth between four types of audio-visual syntax:. 1. Classical Hollywood syntax, epitomised by shot/reverse shot exchanges with strong eyeline looks. Canto 9 begins with a long-held establishing shot that shows the relative positions and eyelines of a group of characters.COME INTO MY SLEEP
Abel Ferrara’s Body Snatchers (1994) is a film about the radical substitution of Same by Same, a fable of the Alter Ego – this Alter Ego conceived as the very truth of the Self. The film’s narrative rests on the supplanting of a Mother by a Stepmother. On the basis of that, key motifs displace and replace each other in a malefic circuit of unimaginable substitution. COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914OZU'S ANGRY WOMEN
1. David Bordwell, Ozu and The Poetics of Cinema (London: British Film Institute, 1988), p. 308. Even the formalist David Bordwell, when discussing Late Spring (1949) in his book Ozu and The Poetics of Cinema, wrote that ‘Ozu can still depict the self-sacrificing parent as solitary, in a fashion analogous to the epilogue of The Only Son (1936)’, and he classified Late Spring as a parent-film. IN AND AROUND THE PARADINE CASE 1. Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock (New York: Ballantine, 1983) p. 294. The Paradine Case (1948) was the last film Alfred Hitchcock directed under his contract with David O. Selznick. It was, as Donald Spoto puts it, ‘a pet project for Selznick’ (1) who had been planning to make it since the publication of Robert Hitchens’ novel in 1933. HOMAGE TO CAROLE LANDIS Chiefly known as a B film actress who later played a few supporting roles in A pictures at Fox, Carole Landis (1919-1948) appeared in overfifty films.
PHILIPPE GARREL'S L'ENFANT SECRET (1982) Reprinted with permission from Ciné journal vol. 2 1983-1986 (Paris: Cahiers du cinéma, 1998). Originally appeared in Libération 19 February 1983. Translated by Fergus Daly and Adrian Martin. 'THE DODDERING RELICS OF A LOST CAUSE': JOHN FORD'S THE The Sun Shines Bright had a particular significance in the Deep South because of its Southern details. But so did other films by other important directors during this era, sometimes for less direct reasons. I don't think anyone in my neck of the woods had a clear idea of who Howard Hawks was during the early '50s, but three of his films – The Thing, The Big Sky, and Land of the PharaohsROUGE INDEX 1
Index of Issue 1 of the magazine ROUGE. ABORIGINAL ART AND FILM: THE POLITICS OF REPRESENTATION 1. See Philip Jones, ‘Perceptions of Aboriginal Art: A History’ in Peter Sutton (ed.), Dreamings (Ringwood: Penguin, 1988), pp. 176- 179. 2. Ibid, p. 179. The history of the changed status of Aboriginal artists – including visual and performing artists and filmmakers – from anonymous artefact makers whose works were collected until the 1970s by museums, anthropologists and pastoralistsA TV DANTE - ROUGE
In his section of A TV Dante (Cantos 9-14), Ruiz moves back and forth between four types of audio-visual syntax:. 1. Classical Hollywood syntax, epitomised by shot/reverse shot exchanges with strong eyeline looks. Canto 9 begins with a long-held establishing shot that shows the relative positions and eyelines of a group of characters.COME INTO MY SLEEP
Abel Ferrara’s Body Snatchers (1994) is a film about the radical substitution of Same by Same, a fable of the Alter Ego – this Alter Ego conceived as the very truth of the Self. The film’s narrative rests on the supplanting of a Mother by a Stepmother. On the basis of that, key motifs displace and replace each other in a malefic circuit of unimaginable substitution. COME ON, BABY, BE MY TIGER One Film, Three Versions . Numerous Orientalist films preceded these three films and may well have influenced them. According to the film historian Virchand Dharamsey, hundreds of Orientalist short features and films were made in the US and Europe prior to 1916, including D.W. Griffith’s Brahma Diamond and Hindu Danger (USA, both 1909), Raoul Walsh’s Mystery of the Hindu Image (USA, 1914OZU'S ANGRY WOMEN
1. David Bordwell, Ozu and The Poetics of Cinema (London: British Film Institute, 1988), p. 308. Even the formalist David Bordwell, when discussing Late Spring (1949) in his book Ozu and The Poetics of Cinema, wrote that ‘Ozu can still depict the self-sacrificing parent as solitary, in a fashion analogous to the epilogue of The Only Son (1936)’, and he classified Late Spring as a parent-film. IN AND AROUND THE PARADINE CASE 1. Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock (New York: Ballantine, 1983) p. 294. The Paradine Case (1948) was the last film Alfred Hitchcock directed under his contract with David O. Selznick. It was, as Donald Spoto puts it, ‘a pet project for Selznick’ (1) who had been planning to make it since the publication of Robert Hitchens’ novel in 1933. HOMAGE TO CAROLE LANDIS Chiefly known as a B film actress who later played a few supporting roles in A pictures at Fox, Carole Landis (1919-1948) appeared in overfifty films.
PHILIPPE GARREL'S L'ENFANT SECRET (1982) Reprinted with permission from Ciné journal vol. 2 1983-1986 (Paris: Cahiers du cinéma, 1998). Originally appeared in Libération 19 February 1983. Translated by Fergus Daly and Adrian Martin. 'THE DODDERING RELICS OF A LOST CAUSE': JOHN FORD'S THE The Sun Shines Bright had a particular significance in the Deep South because of its Southern details. But so did other films by other important directors during this era, sometimes for less direct reasons. I don't think anyone in my neck of the woods had a clear idea of who Howard Hawks was during the early '50s, but three of his films – The Thing, The Big Sky, and Land of the PharaohsROUGE INDEX 1
Index of Issue 1 of the magazine ROUGE. Bandis, Martin, McDonald TheWayward Cloud
THE FILM WE ACCOMPANY From the beginning, there is the way that the first shot of a tree takes its time, all the time in the world. Two films open similarly on an apparently interminable shot of a tree: Otar Iosseliani’s And Then There Was Light (Et la lumière fut, 1989), where we follow an immense freshly-felled trunk pulled through the forest, and Manoel de Oliveira’s No, or the Vainglory of Command (1990LAND OF THE DEAD
Land of the Dead is George A. Romero's return to the genre he is most identified with.Released twenty years after Day of the Dead, the film contains both his development of a Zombie Saga begun by the short treatment Anubis, as well as the restoration of many radical, anti-establishment elements characterising his original 1982 screenplay for Day of the Dead. 'THE DODDERING RELICS OF A LOST CAUSE': JOHN FORD'S THE The Sun Shines Bright had a particular significance in the Deep South because of its Southern details. But so did other films by other important directors during this era, sometimes for less direct reasons. I don't think anyone in my neck of the woods had a clear idea of who Howard Hawks was during the early '50s, but three of his films – The Thing, The Big Sky, and Land of the Pharaohs DOWNFALL: ALMOST THE SAME OLD STORY Almost the Same Old Story. Klaus Neumann. For a long time, Joachim C. Fest, a journalist and high-profile German historian of the Third Reich, has been fascinated by the historical figure of Adolf Hitler. One of his books on Hitler informs a two-and-a-half hour film. It THE RICH BOY: THE RETICENT ARTISTRY OF ROBERT MONTGOMERY I. Clarence Brown's 1931 film Inspiration is a negligible yet intermittently lively and evocative Garbo vehicle: a shuttle train in her still venturesome advance into sound.The movie (an ‘updated’ adaptation of Alphonse Daudet's 19th-century novel Sappho) enlists her lingering Swedish accents in the chic nasality of upper-crust post-World War I Paris. MAURICE PIALAT: A CINEMA OF SURRENDER The scene which best illustrates Pialat’s hunt for reality is undoubtedly the famous dinner sequence (almost fifteen minutes long) towards the end of A nos amours (1983), when the father (Pialat himself), presumed dead, arrives at the family home to disrupt the celebrations. It’s a scene where all the best strands of Pialat’s cinema come together, and above all where he lays bare in its SERIOUS MOTHLIGHT: FOR STAN BRAKHAGE (1933-2003) 1. Jonathan Rosenbaum, Film: The Front Line 1983 (Denver: Arden Press, 1983), pp. 24-25. Just as a certain tradition (the John Cage tradition) of contemporary experimental music invites and then demands an ongoing sophistication of one’s capacity to hear structures, relations, the dancing, shifting formations of sonic material, Brakhage’s films propose a tutoring of the eye, a rapturous THE GATE OF HEAVEN, THE PLACE OF THE OTHER A painting, just a painting. But a painting that, like the majority of bodies and objects within the movie, carries a vast memory. PERHAPS THE FLOOD WILL DESTROY ALL, In Tsai's most recent cinema feature, Goodbye, Dragon Inn (2003) - he has since made a telemovie for children and a video short, Moonlight Over the Water (2004) - the story, as usual, is deliberately simple. It takes place in an abandoned movie theatre that is condemned to be shut down. Only half a dozen or so lonely souls are watching a famous old Hong Kong martial arts movie, King Hu'sRougeRouge
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