tag:blogger.com,1999:blog-35348238.post4583187977531780777..comments2024-03-28T11:25:51.846+01:00Comments on Unspoken Cinema: Reject-oriented antilogy (Shaviro)BenoitRouillyhttp://www.blogger.com/profile/13525748892885946674noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-35348238.post-27054314518584527712011-10-28T13:16:46.463+02:002011-10-28T13:16:46.463+02:00"There’s nothing more inducive of genuine pat..."There’s nothing more inducive of genuine pathos than a man who is bored with a franchise. [..] <br /> It is Bay who remains the only committed heir of Marinetti. [..]<br />Armond White is absolutely right when he says that the Aesthetic of Transformers is Futurist. But that’s only because the aesthetic of the whole world is Futurismo. This is why art is dangerous on occasion and not just HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-35348238.post-50792780943777683462011-01-09T09:14:26.384+01:002011-01-09T09:14:26.384+01:00"Gilles Finchelstein nous entraîne dans un ve..."Gilles Finchelstein nous entraîne dans un vertigineux voyage au cœur de la dictature de l’urgence. On y découvre une réalité qui dépasse ce que chacun pressent. Car le culte de la vitesse et de l’instant bouscule toutes les facettes de nos vies personnelles – notre santé, nos repas, nos loisirs – et professionnelles – pression accrue, exigences de rentabilité croissantes. Il pèse aussi sur HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-35348238.post-75173631937658582922010-12-30T20:07:26.329+01:002010-12-30T20:07:26.329+01:00Paul Ricœur : "L'histoire événementielle,...<a href="http://unspokencinema.blogspot.com/2010/12/temps-et-recit-ricur.html" rel="nofollow">Paul Ricœur</a> : "L'histoire événementielle, c'est l'histoire à oscillation, brèves, rapides, nerveuse; elle est la plus riche en humanité, mais la plus dangereuse. [..] On dirait qu'ici Braudel atteint, à travers la notion de durée, moins ce qui change que ce qui demeure : ce qui HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-35348238.post-5882447843781101182010-12-28T19:13:02.293+01:002010-12-28T19:13:02.293+01:00Jonathan Romney : "Apart from filling the gap...Jonathan Romney : "Apart from filling the gap left by philosophical-poetic auteurs such as Bergman and Tarkovsky, the current Slow Cinema might be seen as a response to a bruisingly pragmatic decade in which, post-9/11, the oppressive everyday awareness of life as overwhelmingly political, economics and ecological would seem to preclude (in the West, at least) any spiritual dimension in art.HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-35348238.post-17920745367099324792010-10-02T17:29:25.123+02:002010-10-02T17:29:25.123+02:00La Lenteur, Milan Kundera<a href="http://unspokencinema.blogspot.com/2010/10/la-lenteur-kundera.html" rel="nofollow">La Lenteur, Milan Kundera</a>HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-35348238.post-45934107080222508392010-07-04T00:41:27.771+02:002010-07-04T00:41:27.771+02:00On the book "Philippine New Wave : This is no...On the book "<a href="http://adrianmendizabal.blogspot.com/2010/07/philippine-new-wave-this-is-not-film.html" rel="nofollow">Philippine New Wave : This is not a film movement</a>" :<br /><br />Chris Fujiwara : “For people who care passionately about an art form, there is always the danger of stopping at a certain historical point and saying, "It's all over, let's think onlyHarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-35348238.post-50550314193789937462010-06-24T15:19:23.457+02:002010-06-24T15:19:23.457+02:00Susan Sontag :
"The philosopher's hypothe...Susan Sontag :<br />"The philosopher's hypothetical universe of clear speech (which assigns to silence only "that whereof one cannot speak") would seem to be a moralists, or a psychiatrist's, nightmare — at the least, a place no one should lightheartedly enter. Is there anyone who wants to say "everything that could be said"? The psychologically plausible answer HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-35348238.post-71342742306042816062010-05-24T18:41:53.851+02:002010-05-24T18:41:53.851+02:00En réponse à Shaviro, Sylvain Lavallée (21 mai 201...En réponse à Shaviro, Sylvain Lavallée (21 mai 2010, <a href="http://www.revuesequences.org/2010/05/le-conformisme-dauteur/" rel="nofollow">Séquences</a>):<br /><br /><br />"D’abord, ni le lent ni le rapide n’expriment mieux l’un que l’autre le monde contemporain, c’est une absurdité de croire que faire un film au rythme enlevé représente parfaitement une réalité que l’on dit défiler à touteHarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-35348238.post-25267688722425615042010-05-14T14:05:00.690+02:002010-05-14T14:05:00.690+02:00No idea where you got that from.
You're think...No idea where you got that from. <br />You're thinking of a group of friends making films in the same room, like La Nouvelle Vague or Dogma95, with a common recipe in hand. That's not at all the case for CCC. In fact, you're right, even the auteurs themselves don't perceive themselves as belonging to a "family", or even reject this idea (like Tarr!). But that doesn'tHarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-35348238.post-54285130944968322192010-05-14T12:41:18.780+02:002010-05-14T12:41:18.780+02:00in full agreement with jessica.
the irreducible p...in full agreement with jessica.<br /><br />the irreducible problem at the heart of this attempt at a theory is that it assumes the existence of a "film movement" where there patently has never been one and is more than likely never will be one that calls itself 'contemplative'; it would be embarrassing to assume that any of these filmmakers practice their art with the EMhttps://www.blogger.com/profile/04895995922116669272noreply@blogger.comtag:blogger.com,1999:blog-35348238.post-14007497312857133192010-05-14T08:11:32.091+02:002010-05-14T08:11:32.091+02:00I don't understand your point. I can't fig...I don't understand your point. I can't figure if you are against any intellectualisation of film theory, or if you demand more "serious critical tools"... Which is it? Aesthetic movements, duration, gaze, form is what films use and what theory studies. Critical arguments disagree on various possible interpretations for each technique or form; but critics don't disagree on HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-35348238.post-3271021358868002072010-05-13T23:33:58.377+02:002010-05-13T23:33:58.377+02:00you, as well as the other 'film critics', ...you, as well as the other 'film critics', need to revise the use of the words 'contemplation', 'slow', 'fast' and what that means to film. <br />your blog is also a contribution to talk about certain films and directors in a certain way. your blog also contributes to secularize certain forms, ideas and directors. i can understand your enthusiasm, but i recommend victorballesteroshttps://www.blogger.com/profile/08211545339820423042noreply@blogger.com