Unspoken Cinema

The first and only issue of the UNSPOKEN Journal ( EDIT 2010: moved here ; EDIT 2011: now offline) is finally completed, you can read it online, and print it out at the website. Thanks a lot to our guest editor Yvette Biró who directed this special issue dedicated to Tarr Béla, and to all our contributors who kindly replied to our request : Robert Davis, Matthew Flanagan, Edward Howard, Ian Johnston, András Bálint Kovács, Pacze Moj, who developed their interpretation of what is Contemplative Cinema in Tarr's films. And our apologize for the submissions that couldn't make the final line up for various complicated reasons. Table of content Béla TARR : Timeless Time , Yvette Biró Béla Tarr and Ágnes Hranitzky in Conversation with András Bálint Kovács The Dieppe Switchman , András Bálint Kovács Confined Space , Yvette Biró Seeking Order in Disorder : Béla Tarr's Werckmeister Harmonies , Ian Johnston Piercing the hermetic skin of Sátántangó , Robert Davis “The Style

Le Moindre Geste (1971/Fernand Deligny) Review of the first shots of the film by cinematographer Caroline Champetier, on France Culture (3-4-2009). Take a look at what could look like another way to talk about cinema without plotline. My tentative translation : The story of Le Moindre Geste is a novel, a genuine mad story. Never a film had been more improbable. Made against all logic from end to end during 8 years. From 1962 to 1970, only 2 years of shooting. And in 1969, a young cinematographer, Jean-Pierre Daniel decided to edit the dailies. Meanwhile around Fernand Deligny, a group begins this shooting in 16mm Black&White, aspect ratio 1:1.33. As a method of observation of a young autist : Yves Guignard. For a camera : diamond in the rough. For a sound engineer : incandescent embers. The film opens with a slate : "Yves is Yves in the film. Annie is Annie. Her father is her father. Her mother is the mother of Richard. Marie-Rose is Marie-Rose. The Cevennes mountains are t