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Tuesday, October 16, 2012

L'attente philosophique (Arte)

Philosophie : L'attente (ARTE France; 14 Oct 2012) 26' [YouTube]
Les philosophes Nicolas Grimaldi et Raphaël Enthoven prennent leur mal en patience.
"Veuillez patienter..." A-t-on seulement le temps d'attendre ? Et quelle différence entre n'avoir plus rien à attendre et disparaître ? Avec le philosophe Nicolas Grimaldi, Raphaël Enthoven explore nos propensions à l'attente, dans l'espoir d'être plus tard ce qu'on voudrait être ici et maintenant.

Filmographie suggérée du Cinéma Contemplatif Contemporain :
  • Le moindre geste (1971/Deligny/Manenti/France)
  • Jeanne Dielman (1976/Akerman/Belgique)
  • D'est (1993/Akerman/Belgique)
  • A Humble Life (1997/Sokurov/Japan/Russia)
  • Mother and Son (1997/Sokurov/Russia)
  • La blessure (2004/Klotz/Belgique)
  • Hamaca Paraguaya (2006/Encina/Paraguay)
  • Fantasma (2006/Alonso/Argentina)
  • Colossal Youth (2006/Costa/Portugal)
  • El Cants dels Ocells (2008/Serra/Spain)
  • Uncle Boonmee who Can Recall His Past Lives (2010/Weerasethakul/Thailand)
  • Bal (2010/Kaplanoglu/Turkey)
  • The turin Horse (2011/Tarr/Hungary)
  • Hurtigruten (2011/NRK/Norway)



Voir aussi :

Saturday, October 13, 2012

Leviathan (Paravel/Castaing-Taylor)

Leviathan (2012) Q&A at NYFF (30 Sept 2012) 37'16"
Lucien Castaing-Taylor and Véréna Paravel
Q : "What does the film say about the commercialization of fishing?"

Lucien Castaing-Taylor : "Nothing.
We are not trying to say anything. But one thing we're trying to do is to make films that don't say anything. Films, like everything humans make, are always about something in some way. But to imagine that they are about something that could be expressed in words, outside of the fabric of the film itself, is kind of ludicrous, because then you wouldn't make the film, you would write it. But fiction films in particular, narrative films, are not reducible to a point, or to making a statement about the world. And non-fiction, documentary, suffers by contrast, with this burden that spectators put on it, that filmmakers put on it, that programmers put on it... which is always elaborating an argument about the world, it is reducible to making a statement about the world (it's usually a political or a value-added statement). And to imagine that the whole swat, that whole domain of reality, of everything that is non-fiction, is divested of its plenitude, of its richness, of the all experiential, sensory quality of actually being in the world, of lived experience itself, so that could be reduced to 'meaning', encapsulated in language, in prose... That is such a travesty for those kind of films, which is why so many documentaries are so weak.
In our earlier work, and particularly in this work, we definitely didn't want to make a film that was reducible to making a point, that was reducible to a set of political propositions about fishing or anything like that."

Q : "[..] You make decisions when shooting, and certainly when editing. What your intention is for the audience to get from this film? [..] Human beings impose or interpret meaning..."

Lucien : "[..] I can't answer it. [..]
Obliging the filmmakers to articulate their intentions about the work rather than allowing the work to work itself on you, and for you to induce or deduce, and to guess at intentions (most of which are unconscious, and can't even be formulated by filmmakers in words, anyway the more profound intentions) is I think a more healthy way to go."

Véréna Paravel : "We didn't want to impose our intentions as a maker, and this why we wanted to share the camera with [the sailors]. This morning we talked with Philippe Grandrieux about something Gilles Deleuze said sur l'art et les animaux..."

Philippe Grandrieux : "First I want to tell you it's an incredible movie. It's so strong, so powerful. All these questions about intentionality... but the world is without any intentionality. There is no intentionality in birds, in flowers, in trees..."
Gilles Deleuze (cited by Grandrieux): "Quand on écrit on doit être à la place de l'animal. On ne doit pas le considérer comme un sujet. On doit écrire à la place de l'animal."
Véréna : "That's it. We shouldn't write for an animal, we should be the animal. This is what making a film is for us. My reference to Deleuze meant that it's not about representing the 'real' but the real is to aim at the 'real'. It's not about demonstration, but more about implication. Not writing for the viewer, but to be this."
Lucien : "Also implicit in what Deleuze says is this implicit critique of so much cinema (which is derived from so many inventions from the theatre, in many regards, in its mise en scène, staging of the characters, and in particular the narrative conventions, and so on) is about the private foibles of humanity : human comedy, comedy of errors, comedy of manners... which could be full of joy and could be immensly amusing, but which is in the end, profoundly familiar (or should we say superficially familiar) and art, or cinema, or literature that aspires to do something more really yokes us back to our nature which is fundamentally animalic. No matter how culturally constructed they are, no matter how psychologized they are, we are all beasts in the end, we are all creatures, we will all turn to dust and be subsumed by something much larger, and greater, and inestimably incomprehensible in comparison to this really rather parochial domain of humanity. Very little cinema seems to aspire to resituate the human in this larger swat of nature to which we inescapably belong."


* * * 


Interview de Véréna Paravel par Laure Adler (Hors Champ; France Culture; 10 Oct 2012) [MP3] 44'
Véréna Paravel : "C'était vraiment important pour nous que la paternité du film soit distribuée. C'est à dire que le film a été fait par nous, certainement, parce qu'on a orchestré cette symphonie de la nuit et des éléments. Mais les éléments nous ont aidés aussi à faire ce film. Les pécheurs nous on aidés aussi, pusiqu'on leur a accroché les caméras sur la tête. Donc on a cette perspective céphalique-là. On est accorché à leur tête, dans leur corps, dans leur mouvement de tête. Puis on est avec les poissons qui se batent [..] Y'a une absudité, c'est dégoutant.
On est dans une bestialité inter-espèce, où au font les hommes se confondent avec les animaux. Les hommes finissent par ressembler à ces bêtes. Ou les bêtes nous ressemblent tellement. On passe de l'un à l'autre. C'est un film liquide. Y'a une fluidité dans le montage ou on va de la mer, au ciel, aux poissons, au pécheur, aux oiseaux qui sont des prédateurs... C'est cette guerre où on est tous des prédateurs.
Et puis il y a le monstre. Revenons au Léviathan, qui est là. Et si on le réveille, c'est le chaos, c'est le trouble de l'ordre qu'il y a au départ, s'il y en avait un. On est en train de réveiller le monstre. Le Léviathan il est partout : c'est les hommes, c'est le bateau, le film lui-même.
C'est un monstre ce film, et c'est pour ça que personne n'arrive à le classifier maintenant. [..]"

* * *

Related CCC Filmography :
  • La Région Centrale (1971/SNOW/Canada)
  • The Seasons (1975/PELESHIAN/Armenia)
  • Confession (1998/SOKUROV/Russia) 
  • La Peau Troué (2004/SAMANI/France) 
  • Les Hommes (2006/MICHEL/France)
  • Sub (2006/LOUSTAU/France) 
  • At Sea (2007/HUTTON/USA)
  • Sweetgrass (2009/CASTAING-TAYLOR/BARBASH/USA)
  • Alamar (2010/GONZALEZ-RUBIO/Mexico)
  • Two Years At Sea (2011/RIVERS/USA)
  • Hurtigruten Minutt for minutt (2011/NRK/Norway)


Related : 

Friday, October 12, 2012

Children watch a contemplative documentary

The Children Watch Ron Fricke's SAMSARA (Kurt Halfyard; 9 Oct 2012; Vimeo) 6'47"
Willem (age 9) and Miranda (age 7) watched the 'tour of the world' documentary SAMSARA. Afterwards, they talk about what they liked and didn't like about this unusual type of film.


Friday, October 05, 2012

Left Field Cinema Podcast (Mike Dawson)


Left Field Cinema was first released in November 2007, written and presented by Mike Dawson. The show has two main purposes; the first is to examine cinema in relative terms, tackling main stream cinema from alternative perspectives, applying varying theories to popular films and hopefully discussing them with a fresh point of view. The second purpose is to unearth more obscure films from world cinema and the independent scene, films that perhaps you've never heard of but are worthy of your attention.

Selected episodes relating to CCC films :

World Cinema Masterpiece: Werckmeister Harmonies [MP3] 26'52"
An extended examination of Bela Tarr's modern masterpiece about the boundaries between civility and barbarism. Also featuring a look back at the first eight feature films of Tarr's career.
Contemporary Obscurity: Satantango [MP3] (missing MP3, read the written review instead)
Bela Tarr's seven and a half hour feature film. A beautiful, difficult, infuriating, disturbing exploration of the death of communism through the microcosm of a small Hungarian village.

World Cinema Masterpiece: Tropical Malady [MP3] 13'08"
Tropical Malady (Sud pralad) represents Apichatpong Weerasethakul's third feature film as director and confirms him as an outstanding directorial talent on the world stage and one of the finest contemporary filmmakers. This episode also features a look back at the career of Weerasethakul.

Asian Avant-Garde: Eureka [MP3] 16'57"
Shinji Aoyama's visually stunning three and a half hour meditation on the nature of trauma. One the finest Japanese films of the decade.


* * *

Selected episodes relating to broader contemplative films :

Analysis: The Films of Hirokazu Koreeda [MP3] 17'34"
Hirokazu Koreeda is the unsung great director of Japanese cinema. Koreeda is his nation's equivalent of Michael Winterbottom, a chameleonic filmmaker who has never told the same story twice and is a master of all styles. Paradoxically though his seven films to date all explore a re-occurring theme of death.
Asian Avant-Garde: Nobody Knows [MP3] 17'31"
Continuing Left Field Cinema's exploration of the work of the great Japanese filmmaker Hirokazu Koreeda, this episode explores one of his best films to date, a tragic drama centered around the abandonment of four children to fend for themselves in modern Japan.

Analysis: The Films of Anh Hung Tran - Part One / Two [MP3] 20'02" + 19'51"
Anh Hung Tran is one the greatest directors working today, in this episode of Left Field Cinema we examine his first three films also known as "The Vietnam Trilogy". Starting with his debut The Scent of Green Papaya (1993), his work improved with the violent crime thriller Cyclo (1995) and he became a master of the medium with At the Height of Summer (2000).
Anh Hung Tran is one the greatest directors working today, in this episode of Left Field Cinema we examine his two latest films which move away from Tran's native Vietnam. Starting with cacophonic masterpiece I Come with the Rain (2008) then moving onto his adaptation of Haruki Murakami's Norwegian Wood (2010).

Asian Avant-Garde: Dolls  [MP3] 11'14"
Takeshi Kitano's 2002 meditation on unconditional devotion - boasting a multi-stranded narrative, slow pace, and the absence of Kitano as performer. This is one of Kitano's finest films and a clear member of the Japanese Avant Garde.


* * *

Selected episodes relating to CC precursors :

Theodoros Angelopoulos: The Beekeeper [MP3] 14'33"
In 1986 Angelopoulos moved away from the cinematic symphonies he is well known for and attempted a chamber piece. The resulting film was one of his most flawed if intriguing productions - The Beekeeper (O melissokomos).
Theodoros Angelopoulos: The Travelling Players [MP3] 13'37"
The last of my five favourite directors, starting this series with his four hour in length 1975 Brechtian masterpiece The Travelling Players.

Andrei Tarkovsky: Andrei Rublev [MP3] 13'50"
Continuing the exploration of the works of Andrei Tarkovsky, this episode examines his second feature film as director, the frustrating but impressive historical epic about Russia's greatest iconographer.
Andrei Tarkovsky: Stalker [MP3] 16'23"
1979 Andrei Tarkovsky released his fifth feature film as director, Stalker (Сталкер). The production is often thought to be responsible for the great director's eventual death, but the resultant film is an unparalleled science fiction masterpiece which brings to mind three of Tarkovsky's favourite films, films that belong to another genre entirely.
Andrei Tarkovsky: Mirror [MP3] 27'33"
For the 100th episode of Left Field Cinema, a special extended examination of Andrei Tarkovsky's greatest masterwork, the 1975 feature film, Mirror. A miracle of a film by the fact of its very existence, a film which may well change the way you perceive the physical boundaries of cinema, a paradoxically personal yet universal film that will haunt you for years to come. Mirror is here examined in relation to my own memories of the film and my memories of cinema in general.

Hidden Classics: The Round-Up [MP3] 12'22"
Miklos Jancso's 1966 excellent film about Hungarian prisoners unwittingly engaged in a deadly game of chess with their captors. A forgotten gem which has now resurfaced and has prompted a new evaluation of the directors works.


Enjoy!



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Wednesday, October 03, 2012

Conférence sur rien (John Cage)



Qui est John Cage ? [MP3] 1h23'
Rencontre avec Jean-Yves Bosseur, Joëlle Léandre, Saladin Matthieu, Bastian-Dupleix Isabelle (BPI; Centre Georges Pompidou; Paris; 24 Sept 2012) [PDF]

Célébrer la mémoire de John Cage, qui aurait eu cent ans en 2012, dans une bibliothèque ? Nul doute que le musicien, performeur, poète et penseur aurait trouvé l'idée cocasse ; lui dont la pratique, comme celle de Dada, Duchamp ou Satie, défie le monde de l'art et ses institutions.
La Bpi relève ce défi. Dans ses espaces, parmi ses collections de livres et de disques, Bernard Fort interprètera la Conférence sur rien (Lecture on nothing), méditation poético-philosophique précisément réglée, que John Cage considérait comme une composition à part entière.
Puis dans la Petite Salle du Centre Pompidou, le compositeur Jean-Yves Bosseur s'entretiendra avec Matthieu Saladin sur la personnalité, l'influence et l'actualité de Cage. Cette rencontre sera ponctuée par les interventions musicales de la contrebassiste Joëlle Léandre, dont l'oeuvre est tissée de multiples rencontres (de Cage à Steve Lacy en passant par Fred Frith). 
Conférence sur rien (Bernard Fort) 44'22"


Related :