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Monthly Archives: September 2015

Godard’s films godard2(1)is composed almost entirely of visual and auditory quotations from films На последнем дыхании / À bout de souffle http://www.dailymotion.com/video/x383mqh
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 http://klub-nostalgia.ucoz.com/forum/65-451-1 .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]

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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».https://vimeo.com/55579972 The Color of Pomegranates Sayat Nova   http://www.dailymotion.com/video/x37ono5_the-color-of-pomegranates-sayat-nova_shortfilms 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 https://www.youtube.com/watch?v=SrUL1Y9_yaI

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 https://vimeo.com/68045309ppp 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. Medea (1970) by Pier Paolo Pasolini who conveys the Euripides’s Medea’s plot as true visual myth

теорема пазолини Theoreme (1968) Pasolini  intended to be theoretical in this film of  an ambivalent guest, a stranger

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