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Godard’s films godard2(1)is composed almost entirely of visual and auditory quotations from films На последнем дыхании / À bout de souffle
My Histoire(s) du Cinema starts with a chapter called ‘Toutes les Histoires‘, a lot of small stories in which signs can be seen. It then goes on to say that this story is alone – the only story that has ever been. Then – you know my immoderate ambition – I say: not only is it alone, but it is the only one that will ever be and that has ever been (after, it will not be a story but something else). It is my mission to tell it.”
Jean-Luc Godard

Histoire(s) du Cinéma 1988–98 is a powerful and visually stunning critique of cinema and its relationship to the other arts, as well as a reflexive analysis of the director’s life and work. Originally commissioned for European television, the production spans ten years and includes eight episodes (of a proposed ten) in four chapters. История кино .План создания «Истории кино» Годар вынашивал с первых дней своих занятий критикой; «духовным отцом» этого проекта можно считать Анри Ланглуа, который и должен был прочесть осенью 1978 года в монреальской Высшей школе кинематографического искусства цикл лекций по истории кино. Скончавшегося мэтра заменить пришлось Годару, и он предложил директору школы Сержу Лозику вместо лекций поработать вместе со студентами над сценарием предполагаемого цикла фильмов под названием «Введение в истинную историю кино и телевидения» — истинную в том смысле, что ее составят изображения и звуки, а не тексты, пусть и с иллюстрациями. Histoire(s)DuCinema01histoire000031

The project began in 1988 and emerged from a series of lectures Godard delivered at the University of Montreal in 1978. In these lectures, Godard presented an analysis of his own films alongside others, juxtaposing imagery with additional references to painting, newsreels and television. The project also bears the marks of Godard’s early film criticism published in Cahiers du Cinéma. Central to the project is Godard’s ongoing concern with the politics and materiality of filmmaking — for example, the process of editing, which Godard conceives as analogous to the act of lying. Godard reacts against the simple conventions of editing, continually juxtaposing and superimposing images in montages that search for truth and meaning in cinematic imagery. Godard famously asserted, ‘If directing is a gaze, editing is a heartbeat’[ dailymotion id=x20dw4x]

personid1816_0«Мною всю жизнь движет зависть. Я завидовал красивым – и стал обаятельным, я завидовал умным – и стал неожиданным. Завидовал талантливым – и стал гениальным». Сергей Параджанов Режиссёр Микеланджело Антониони: «“Цвет граната” Параджанова поражает своей совершенной, неземной красотой». The Color of Pomegranates Sayat Nova фильм Сергея Параджанова «Саят-Нова», известный с 70-х годов под названием «Цвет граната». Зрители впервые увидят его в отреставрированной параджановской версии, с оригинальным монтажем, как никогда полным живых красок и музыки.Sayat Nova depicts the life of the revered 18th century Armenian poet and musician Sayat Nova (Vilen Galstyan). Portraying events in the life of the artist from childhood up to his death, the movie 1968 году приступил к съемкам художественного фильма «Цвет граната» («Саят-Нова»). В картине, состоящей из нескольких миниатюр, была сделана попытка показать духов­ный мир средневекового армянского поэта Саят-Новы, писавшего на армянском, грузинском и азербайджанском языках, историю его любви, его отношение к религии, светской власти, народу.It was only in 1982 that Parajanov could start work again on new film projects. He returned to another Transcaucasian work, this time a Georgian one. The Legend of Suram Fortress was to prove that Parajanov’s originality had not vanished The Legend of Suram Fortress

Arabesques sur le thème de Pirosmani de Sergueï Paradjanov

foregrounds “in a systematic and sophisticated manner, the process of cinema representation in which Parajanov’s artworks are “intimately connected with his filmmaking aesthetics” (both in terms of stylistic inspiration and themes) and Parajanov’s use of Soviet kitsch as being in keeping with the “Sots Art” movement of Komar and Melamid.NB Сценарии 1964 — «Тени забытых предков» 1965 — «Исповедь» 1969 — «Цвет граната» 1989 — «Этюды о Врубеле» 1990 — «Лебединое озеро. Зона» Однажды он подобрал крышку от ке­фира и гвоздем выдавил на ней портретик Пушкина. Зэки, обнаружив у него этот «медальон», похабно пошутили на этот счет, но не отобрали. Спустя десятилетие этот «медальон» попал к режиссеру Федерико Феллини, и он отлил из него серебряную медаль, которой с тех пор награждают лучший фильм на фестивале в Римини. addresses in particular his relationships with women, including his muse Sofiko Chiaureli. The production tells Sayat Nova’s dramatic story by using his poems and largely still camerawork, creating an impressionistic work.

For his vibrant, boundary-pushing films, Parajanov was regarded as an artist who made significant contributions to Ukrainian, Armenian and Georgian cinema. He invented his own cinematic style, which was totally out of step with the guiding principles of socialist realism – the only sanctioned art style in the USSR.

This, combined with his controversial lifestyle and behaviour, led Soviet authorities to repeatedly persecute and imprison him and suppresses his films. Parajanov’s influence has reached beyond film into new art forms such as the music video. His films demanded new modes of spectatorship, which could not be entirely contained within the cinema.

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Paolo Pasolini The Gospel According to St Mathew   was filmed mostly in the poor, desolate Italian district of Basilicata, and its capital city, Matera.His film would argue: Jesus was a radical whose teachings, if taken seriously, would contradict the values of most human societies ever since. Paolo Pasolini Salo 120 Giornate di Sodoma Paolo Pasolini Salo 120 Giornate di
Sodoma.It is based on the book The 120 Days of Sodom, by the
Marquis de Sade. The story is in four segments, inspired by
Dante’s Divine Comedy: the Anteinferno, the Circle of Manias,
the Circle of Shit and the Circle of Blood. Director John Waters
“Salo is a beautiful film…it uses obscenity in an intelligent
way…and it’s about the pornography of power.” Фильм является вольной экранизацией «120 дней Содома» Маркиза де Сада. Первая часть незавершённой «Трилогии смерти», в которую также должен был войти фильм Porno-Teo-Kolossal (не завершён). Фильм состоит из четырёх частей, основанных на Божественной комедии Данте Алигьери: Преддверие ада (итал. Antinferno), Круг маний (итал. Girone della manie), Круг дерьма (итал. Girone delle merda), Круг крови (итал. Girone del sangue). Фильм также содержит частые ссылки на произведение Фридриха Ницше Генеалогия морали (1887), стихотворение Эзры Паунда The Cantos, а также magnum opus Марселя Пруста В поисках утраченного времени.

I racconti di Canterburyppp

Eight of Geoffrey Chaucer’s lusty tales come to life on-screen in Pier Paolo Pasolini’s gutsy and delirious The Canterbury Tales, which was shot in England and offers a remarkably earthy re-creation of the medieval era. From the story of a nobleman struck blind after marrying a much younger and promiscuous bride to a climactic trip to a hell populated by friars and demons (surely one of the most outrageously conceived and realized sequences ever committed to film), this is an endlessly imaginative work of merry blasphemy, framed by Pasolini’s portrayal of Chaucer himself. Ecce Homo & Salo & PPP murder story by Ferrara

Queen Nefertiti0066486800000258-3152001-image-a-63_1436268179507 Mummy Mystery of Ancient Egypt  Nefertiti Mummy“Great Royal Wife” of the “reneNefertiti-berlin-musgade” pharaoh Akhenaten, Nefertiti was a mother of six who helped lead a religious revolution that changed Egypt and the world forever. Yet after her death, her enemies destroyed all evidence of Nefertiti’s life. Now, drawing on 13 years of research, Fletcher and her team bring Nefertiti’s turbulent reign to life as never before using cutting-edge computer animations to recreate ancient Egypt’s great temples; x-rays to reveal the telltale signs of foul play on her mummy; and forensic graphics to recreate the mummy’s face. Have they found the ancient world’s greatest beauty?Nefertiti_Composit

Yoko Ono the pop artist of feminist erotoaestetics at MOMA with iconic images art_223bg vids at onoyoko-ono-art-2

strollgirlgirlsnmonkeygarryGarry Winogrand’s intuitively choreographed snapshots as girl(s) framed by men Winogrand maintained that he never, in effect, shot from the hip, i.e.: photographed without looking through the viewfinder Winogrand, known for his skill in shooting on the street, was described by the influential MoMA photography director John Szarkowski as the “central” photographer of his generation

Germaine Dulac's silent movie stills 'La Coquille et le Clergyman' (1928)

Germaine Dulac’s silent movie stills ‘La Coquille et le Clergyman’ (1928) full silent

feminists vitruvius

feminists vitruvius

The Seashell and the Clergyman ( La Coquille et le clergyman) is the first surrealist film. It was directed by Germaine Dulac, from an original scenario by Antonin Artaud

Heidegger Papers Talk at Soho Goethe Institute  Martin Heidegger and Nazism is a controversial subject.

By the beginning of 1934, there were reports in Berlin that
Heidegger had established himself as ‘the philosopher of
National Socialism’. But to other Nazi thinkers, Heidegger’s
philosophy appeared too abstract, too difficult, to be of much
use […] his enemies were Imageable to enlist the support of Alfred Rosenberg, whose own
ambition it was to be the philosopher of Nazism himself. Denied
a role at the national level, and increasingly frustrated with
the minutiae of academic politics – which seemed to him to
betray a sad absence of the new spirit he had hoped would
permeate the universities – Heidegger resigned his post in
April 1934
the German existentialist philosopher Karl
Jaspers, who wrote in a letter to the head of the
de-Nazification commission that “Heidegger’s manner of
thinking, which to me seems in its essence unfree, dictatorial,
and incapable of communication, would today be disastrous in its
pedagogical effects.

During the hearings of the Denazification Committee, Hannah Arendt, Heidegger’s former student and lover, who was Jewish, spoke on his behalf. (Arendt very cautiously resumed her friendship with Heidegger after the war, despite or even because of the widespread contempt for Heidegger and his political sympathies, and despite his being forbidden to teach for many years.

 The black notebooks were written between 1931 and 1941 show Heidegger denouncing the rootlessness and spirit of “empty rationality and calculability” of the Jews, as he works out revisions to his deepest metaphysical ideas in relation to political events of the day.


Technologos Digital Architect & Eternal Dissident Vitruvius God’s Fool Chronicle 40 years as One Day Life in New York or жизнь вечного диссидента, мирового бродяги dissident exile life  Cinematic life story interview with Sylvie Weil

Sylvie Weil literary revenge masterpiece to geniuses inheritance At Home with André and Simone Weil, Simon Weil those figures mentioned in narration about life in Vermont withImage Memoirs by Andres Weil

Musing on new yorkers  dwellers divide of very rich and very poor clans with anxiety about the foundations of the U.S. finances economy at Washigton square stroll in the Village while at NYU attending a  panel debating Thomas Piketty’s “Capital in the Twenty-First Century” blockbuster  who predicts  “we will all be poorer in the future in every way and that creates crisis. I have proved that under the present circumstances capitalism simply cannot work.” There is no reason to believe that capitalism can ever solve the problem of inequality, which he insists is getting worse rather than better. From the banking crisis of 2008 to the Occupy movement of 2011, this much has been intuited by ordinary people. The singular significance of his book is that it proves “scientifically” that this intuition is correct. There is a fundamentalist belief by capitalists that capital will save the world, and it just isn’t so. Not because of what Marx said about the contradictions of capitalism, because, as I discovered, capital is an end in itself and no more. But although his diagnosis is accurate and compelling, it is hard, almost impossible, to imagine that the cure he proposes – tax and more tax – will ever be implemented in a world where, from Beijing to Moscow to Washington, money, and those who have more of it than anyone else, still calls the shots.


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