Unspoken Cinema

  Voir aussi sur Unspoken Cinema: Selective CCC Library (2021) Library page CCC Bibliography  

"[..] Sokourov, en revanche, est un cinéaste qui semble privilégier une approche bien plus interventionniste sur ses propres images, au point, parfois, d’altérer visiblement notre perception de ce qui est représenté : la réalité filmique se plie au gré des manipulations plastiques. Nous l’avons entrevu avec le premier plan de Voix spirituelles, et cette approche est d’autant plus prégnante dans ses films de fiction — excluant ses essais et films expérimentaux dans lesquels la forme prend le pas sur ce qui est représenté. Sokourov appartiendrait alors aux « cinéastes qui croient en l’image », selon l’expression qu’emploie Bazin, mais plus encore, aux cinéastes qui fabriquent leur propre réalité filmique. [..]" "[..] Mais l’exacerbation des formes stylistiques ne respecte pas à la lettre la prescription bazinienne : le réalisme du « Slow Cinema » ne se conforme pas tant à la réalité objective qu’il ne la façonne, emploie le plan-séquence et la grande profondeur de champ po

  (Designed by Benoit Rouilly)

  HOW TO LAV DIAZ | how to series EP.1 (YouTube) 10'04" (ralfBEL) 13 Feb 2024

Dans notre société contemporaine, tout semble devoir aller vite. En d'autres termes, la patience ne semble pas avoir sa place dans nos vies. Faut-il apprendre à redevenir patients ? Que nous apprennent les philosophes sur la patience ?   Pourquoi la patience ?  4 à 7 sept 2024 (podcast France Culture) 4x 1h  La patience a encore toute sa place aujourd'hui, comme nous le montrent ces axes de réflexion : Que peuvent nous apprendre les anciens sur la patience ? Certains affirment qu'aujourd'hui, nous sommes de moins en moins patients… Les stoïciens peuvent-ils nous aider à retrouver cette patience ? Faut-il même vraiment lutter contre notre impatience ? Avec : - Frédérique Ildefonse Directrice de recherche au CNRS, rattachée au laboratoire d’anthropologie sociale - Sandrine Alexandre Agrégée et docteure en philosophie, rattachée à l’IRePh de Nanterre, spécialiste de philosophie ancienne. En quoi la patience est-elle constitutive de notre être selon Levinas ? Le philosoph

  Chantal Akerman par Valérie Mréjan (YouTube) 4'30" (Blow Up) 25 Sept 2024

  Le cinéaste Apichatpong WEERASETHAKUL est au centre Pompidou (YouTube) 7'45" (Le Centre Pompidou) 1 Oct 2024 ENGLISH SUBS Voir aussi sur Unspoken Cinema : WEERASETHAKUL in Paris (Pompidou 2024)  pour le programme

"Slow cinema remains a vital and evolving global film movement, one that challenges the dominant temporal and narrative logic of mainstream cinema while engaging with the complexities of contemporary life. By emphasizing duration, observation, and the everyday, slow cinema offers a unique and rewarding viewing experience, one that encourages contemplation, reflection, and a deeper engagement with the world around us. As the digital age continues to transform cinema, slow cinema remains a crucial site for exploring the possibilities and limitations of the medium. With its roots in the modernist experiments of the post-war era and its commitment to capturing the reality of lived experience, slow cinema offers a powerful alternative to the spectacle and accelerated pace of mainstream filmmaking. Whether through the epic-length films of Lav Diaz, the intimate portraits of Pedro Costa, or the experimental landscapes of James Benning, slow cinema continues to push the boundaries of what

(Designed by Benoit Rouilly) From static (bottom) to lightspeed (top), the Slowness Spectrum, as perceived by the cinema audience and its reality.  Unfortunately, the normal speed of current mainstream cinema (which Bordwell called "intensified continuity") is perceived as the average standard speed, emphasized by the mode of screen consumption on smartphones for instance. Thus Contemplative Cinema is lambasted for being too sluggish and nicknamed "Slow Cinema". Whereas, in fact, REAL LIFE has always been slow, and it's our normal daily-life speed. Cinema has created an accelerated speed through ellipsis of the editing (which cuts out all down time, and unecessary transitions). Now this accelerated time is perceived as the new normal, which turns everything in real life "slower than normal"... Speed is the new normality. Life is the new slow.  But Contemplative Cinema has never been "slower" than normal, slower than real life, it merely copie

  À venir : Apichatpong Weerasethakul | Cinéma & exposition | Centre Pompidou (YouTube) 31" (Centre Pompidou) 19 sept 2024 Festival d'automne (rétrospective+exposition+performance) du 2 octobre 2024 au 6 janvier 2025 :  Apichatpong Weerasethakul - Des Lumières et des ombres - Centre Pompidou

Because in the margins of Contemplative Cinema remains a bunch of outliers (see CCC or Not? and Slow Cinemas Analysis (diagram) ) without a more accurate critical branding than “Slowish Cinema”... MARGINS : On The Side Line of Contemplative Cinema Sergio LEONE (1964) Wojciech HAS (1965) Jean-Pierre MELVILLE (1966) Miklós JANCSO (1966) Stanley KUBRICK (1968) Andrei TARKOVSKY (1969) Philippe GARREL (1971) Werner HERZOG (1972) Wim WENDERS (1972) Victor ERICE (1973) Theo ANGELOPOULOS (1975) David LYNCH (1977) Jim JARMUSCH (1980) HOU Hsiao-hsien (1983) Leos CARAX (1984) These famous names get too often lumped in with the "Slow Cinema" tradition... I contend they do not belong to the core of Contemplative Cinema for obvious reasons (earlier narrative generation, diegetic or non-diegetic character speech, musical score, actors/non-actors...), and other less obvious reasons (degree of minimalism, narrative/anti-narrativism, sophistication of mise-en-scène, scripted scenes/real life,

  Perception, Stimuli and Narrative: Time in the Age of Acceleration (YouTube) 50'31" Play-Doc Festival (21 June 2024) SPANISH/ENGLISH The fact that film playback software offers the possibility of accelerating the speed of projection is not simply a technological matter; a dominant regime of perception is condensed in this innovation for impatient users. Who can concentrate on watching a film without interruption for more than three hours? Diaz’s cinema has always implied a twofold demand: the long, often fixed, shots and the total time of his films poses a perceptual challenge to the viewer: the dense matter of time, that abstract but real condition, is felt due to a laborious poetics of duration. Indeed, the Filipino filmmaker’s cinema of time constitutes a perceptual paradigm of resistance to the age of extreme acceleration.  Moderated by: Roger Koza

SLOW FILM FESTIVAL 2024 5 & 6 October 2024 at Good Shepherd Studios in Leytonstone (East London, UK) "Slow cinema is a genre of art cinema recognised as a style that is minimalist, observational, and which typically emphasizes long takes. It is also called “contemplative cinema”. Tickets for the festival are on sale now. SFF aims to give space to view and discuss films that are pushing the boundaries of “slow film” as well as those that have defined its history. The festival also says it strives to be a “meeting point where the uses of duration in film can be debated” and where “new friendships and potential collaborations can take root”." Waltham Forest Echo

  Wang Bing Shares How Is It To Transpose Bitter Times (YouTube) 6'48" Locarno Film Festival (14 Aug 2024)