Chained to the Cinémathèque

Crimen Falsi Redux, Part 2: Exemplum

2009-07-14T11:05:00.005-04:00

(via)

[Crimen Falsi Redux, Part 1: The Theory of the Image]

They removed the dead bodies on back of trucks, before we were even able to get their names or other information.

2009-06-16T21:02:00.003-04:00

They are saying: "Marg bar basiji" (down with the baisjis). A guy yells: "They have left. Don't throw stones any more". And then "Tireshoon tamoom shod" (They are out of bullets!) and then there are more shots. Somebody cries, "Don't run away." Then, "they have killed 5 people", and some body shouts at the militia, "what are you doing??" and somebody else,"They are not shooting blanks (they bullets are live)" some more shots and somebody says, "They are shooting for real, Look at the blood" and then the guy on the ground and someone yells, "Ya abolfazl" (Abolfazl is brother of Imam Hossein and a saint like figure) and "Na-mard-haa" (cowards) then,"I called the emergency", getting the reply, "Forget about the emergency, let's take him (the guy on the ground) with us."

***

"It's painful to watch what's happening.

I don't want anything to do with what has been said this far, as I neither have the strength nor the resilience to face all these unfathomable events.

I only want to speak about what I have witnessed. I am a medical student. There was chaos last night at the trauma section in one of our main hospitals. Although by decree, all riot-related injuries were supposed to be sent to military hospitals, all other hospitals were filled to the rim. Last night, nine people died at our hospital and another 28 had gunshot wounds. All hospital employees were crying till dawn. They (government) removed the dead bodies on back of trucks, before we were even able to get their names or other information. What can you even say to the people who don't even respect the dead. No one was allowed to speak to the wounded or get any information from them. This morning the faculty and the students protested by gathering at the lobby of the hospital where they were confronted by plain cloths anti-riot militia, who in turn closed off the hospital and imprisoned the staff. The extent of injuries are so grave, that despite being one of the most staffed emergency rooms, they've asked everyone to stay and help--I'm sure it will even be worst tonight.

What can anyone say in face of all these atrocities? What can you say to the family of the 13 year old boy who died from gunshots and whose dead body then disappeared?

This issue is not about cheating(election) anymore. This is not about stealing votes anymore. The issue is about a vast injustice inflected on the people. They've put a baton in the hand of every 13-14 year old to smash the faces of "the bunches who are less than dirt" (government is calling the people who are uprising dried-up torn and weeds) .

This is what sickens me from dealing with these issues. And from those who shut their eyes and close their ears and claim the riots are in opposition of the government and presidency!! No! The people's complaint is against the egregious injustices committed against the people."

techne does what it must

2009-05-26T23:47:00.003-04:00

Below I've included 2 linguistic and historical digressions that I cut from my piece on Philippe Garrel at The Auteurs. They likely need more fleshing out to stand on their own, but for now:

Our difficulty in separating the 'true story' for the 'true' story has its roots in the earliest Western traditions of abstracted thought (themselves products of the historical moment at which leisure combines with urban life). Take the mythoi of the ancient Greeks: in Homeric Greek, mythos (μῦθος) refers to a thing said, a story being told, without reference to its truth value. The word gains a sense of unbelievability that we can trace along with the rise of "logos"-centic rationalism in the Greek world from the physiologoi of the Ionian school through Herodotus' approach to historia.

and, speaking of the myths propagated by the Romantic artists vis-à-vis artistic creation and inspiration:

* myths propagated, but also revealed: the position of the artist, "freed" from systems of patronage, is reduced to an independent contractor, a speculator in the value of their own work. In this system of proto-neoliberal liberation, one needs a certain degree of madness to undertake art as a career. One can also see in this the decline of the craft of art -- the end of techne -- as art (that is, "art," the mythical process of its creation) moves from the realm of work to the realm of 'inspiration.' The disappearance of artists' schools might be said to be the beginning of the end of the idea of art as a process independent from a metaphysical spirit. [Interesting that we can so easily parallel the rise of individualism in the political and philosophical spheres with the rise of similar myths in the arts, in all cases replacing collectivity and higher virtues to which one answers...]

To those who might source this Romantic myth in some classical ideal of inspiration, the relationship between metaphor and reality in ancient Greece leaves the Muses as more a rhetorical flourish than an actual conception of inspiration's roots (mythos makes no claims to facticity). See also the secular mythmaking by Romantic wits like Edward Bulwer-Lytton: "Talent does what it can; genius does what it must."

alienated (organ-harvesting) labor // Capitalism eats her young

2009-05-26T23:16:00.006-04:00

You might be aware of this if you follow my Twitter, but I recently saw Alejandro Adams' film Canary, which utterly floored me. I'll be putting together more content on Canary soon, including some thoughts on the way that it offers a formal approach to capturing capitalism's relationship between indoctrination, oppression, and the complicity of the "Little Eichmanns"* who are also made it's victims.

* you probably first heard this phrase when used by Ward Churchill in his essay Some People Push Back from September 2001, but it originated in John Zerzan's 1995 essay "Whose Unabomber?"

Somewhat related: this excellent article from the New York Times Magazine by Matthew B. Crawford is an adaption of his new book "Shop Class as Soulcraft: An Inquiry Into the Value of Work." It's the kind of piece that you expect to be some sort of mythologizing of the yeoman farmer à la Jefferson, that instead is a sly, intelligent critique of the relationship between alienated labor and suboptimal systemic and personal outcomes.

The Mythopoesis of Autobiography: Philippe Garrel's "Emergency Kisses" and "I Can No Longer Hear the Guitar"

2009-05-26T10:43:00.004-04:00

My article The Mythopoesis of Autobiography: Philippe Garrel's "Emergency Kisses" and "I Can No Longer Hear the Guitar", about today's dvd release by Zeitgeist Films, is currently up at The Auteurs.

In the battle between words and silence, I throw my lot in with the latter.

2009-05-23T17:04:00.000-04:00

In the battle between words and silence, I throw my lot in with the latter.

If you film a soldier, you don’t stand in front of the rifle, but behind, like a war reporter

2009-05-21T00:17:00.002-04:00

"We had a somewhat simplistic idea. A little soldier facing a fortress, society. If you film a soldier, you don’t stand in front of the rifle, but behind, like a war reporter."
- Luc Dardenne, on filming Rosetta (h/t)

Georg K. Glaser - Schriftsteller und Schmied

2009-05-19T16:19:00.002-04:00

"Georg K. Glaser is a working-class writer. Quite literally: he spends the morning at his desk and from midday on he is in his workshop in the Paris district, Marais. There he makes bowls, lamps, vases, jugs, and other metal products. He has mastered techniques that almost no other smith is able to carry out. Born near Worms in 1910, Glaser left home early and went wandering. He was put in children’s homes and joined the Communist Party. In 1933 he went underground and fled through the Saar region to France. There he was naturalized and worked for the state railroad until he was conscripted in 1939, soon finding himself in a German prison camp. For years he had to pretend to be a Frenchman who could speak German well. After escaping and being placed in a penal camp, he returned to Paris and worked for Renault. He found working on a conveyor belt intolerable and inhumane. And so, almost 40 years ago, Glaser opened a craft workshop in order to exercise his critical facul-ties in thought and practice. He combines his craft with writing and points out that the French word for craftsman, artisan, contains the syllable “art,” so that art is no longer separated from work." (Harun Farocki)

back to being an art form

2009-05-08T12:03:00.001-04:00

"I have lost count of the number of articles proclaiming the imminent or actual death of the music industry. Does this mean that music can now go back to being an art form again? & If so, is it the first art form to begin adapting itself to the post-capitalist society we now find ourselves living in? Or is it just something you get free when you buy a mobile phone?"
- Jarvis Cocker

the first of May

2009-05-01T11:18:00.001-04:00

take history

2009-05-01T11:17:00.000-04:00

Each work of art is not an act of resistance and yet, in a certain sense, it is.

2009-04-04T19:32:00.005-04:00

"What is the relation between the work of art and communication?

None whatsoever. The work of art is not an instrument of communication. The work of art has nothing to do with communication. The work of art strictly does not contain the least bit of information. To the contrary, there is a fundamental affinity between the work of art and the act of resistance. There, yes. It has something to do with information and communication as acts of resistance. What is this mysterious relation between a work of art and an act of resistance when men who resist have neither the time nor sometimes the necessary culture to have the least relation to art? I don't know. Andre Malraux develops a beautiful philosophical concept; he says something very simple about art; he says it is the only thing that resist death. Let's return to where we began: What does one do when one does philosophy? One invents concepts. I think this is the basis of a beautiful philosophical concept. Think -- What resists death? One need only see a statuette from three thousand years before our time to find that Malraux's response is a rather good one. From our point of view, we could then say, rather less elegantly, that art is what resists even if it is not the only thing that resists. Where does such a close relation between the act of resistance and the work of art come from? Each act of resistance is not a work of art while, in a certain sense, it is all the same. Each work of art is not an act of resistance and yet, in a certain sense, it is."

- Having an Idea in Cinema (On the Cinema of Straub-Huillet), Gilles Deleuze

Romance

2009-03-30T17:48:00.008-04:00

JMS: When we met in 1954, I was attending the Lycee Voltaire, but only for eight days.
DH: Three weeks.
JMS: Was I? Well, three weeks. Then I left…
DH: You didn’t. You were told it would be better to leave…
JMS: I was kicked out. I was even told why. I knew too much about Hitchcock and that disturbed the class. I was watching her from a distance. We weren’t sitting that close to each other. I didn’t know her. I was just watching her. And every time she uttered something, the others would ask me - why me? - what she’d said. I had to translate. It was taken for granted that I understood.
DH: And did you understand?
JMS: Ah! That’s a mystery! One will never know. They must have noticed that I had fallen madly in love at first sight, and so they thought: he must understand what she says.

- Jean-Marie Straub and Danièle Huillet, in Où gît votre sourire enfoui? / Where Does Your Hidden Smile Lie? (Pedro Costa, 2001)

via Kevin Lee's lovely essay on the film

***

To the Foot From Its Child

2009-03-23T20:03:00.001-04:00

To the Foot From Its Child
by Pablo Neruda, translated by Jodey Bateman

A child's foot doesn't know it's a foot yet
And it wants to be a butterfly or an apple
But then the rocks and pieces of glass,
the streets, the stairways
and the roads of hard earth
keep teaching the foot that it can't fly,
that it can't be a round fruit on a branch.
Then the child's foot
was defeated, it fell
in battle,
it was a prisoner,
condemned to life in a shoe.

Little by little without light
it got acquainted with the world in its own way
without knowing the other imprisoned foot
exploring life like a blind man.

Those smooth toe nails
of quartz in a bunch,
got harder, they changed into
an opaque substance, into hard horn
and the child's little petals
were crushed, lost their balance,
took the form of a reptile without eyes,
with triangular heads like a worm's.
And they had callused over,
they were covered
with tiny lava fields of death,
a hardening unasked for.
But this blind thing kept going
without surrender, without stopping
hour after hour.
One foot after another,
now as a man,
or a woman,
above,
below,
through the fields, the mines,
the stores, the government bureaus,
backward,
outside, inside,
forward,
this foot worked with its shoes,
it hardly had time
to be naked in love or in sleep
one foot walked, both feet walked
until the whole man stopped.

And then it went down
into the earth and didn't know anything
because there everything was dark,
it didn't know it was no longer a foot
or if they buried it so it could fly
or so it could
be an apple.

ethical problems

2009-03-18T20:30:00.002-04:00

"Criminals are never very amusing. It's because they're failures. Those who make real money aren't counted as criminals. This is a class distinction, not an ethical problem."
- Orson Welles*

* attributed; trying to find the citation...

scenes from America

2009-02-17T19:56:00.002-05:00

On Feb. 9, a man scrawled a message on the roof of his house in a suburb of Los Angeles: "I Want 2 Be Heard." Then he barricaded himself inside when deputies showed up to evict him, surrendering after a few hours. In October, a woman in San Diego chained herself to her front porch after the bank that held her mortgage refused to renegotiate the terms. She remains in her home, but has received a second eviction notice.

[...]

"This is a cold place in the winter and I will not give people a death sentence for not paying their debts," Sheriff Jones said in an interview. "These are human beings, responsible middle-class people who fell on hard times, and I just can't toss them out onto the streets."

[...]

"I may lose my home, but I'm only leaving in handcuffs," Ms. Millington said.

[...]

In an interview, Ms. Kaptur said, "I'm thrilled that the American people are rising up and exercising the power that Wall Street has taken away from them."

um modo de filmar muito correcto

2009-02-13T20:49:00.008-05:00

"There is a Portuguese director that I like very much, Pedro Costa, who has a very appropriate way of filming. One time, he told me that I film the rich, and he films the poor. I told him that I film souls - and there are souls as much in the rich as in the poor."
- Manoel de Oliveira

[«Há um realizador português de que gosto muito, o Pedro Costa, que tem um modo de filmar muito correcto. Uma vez, ele disse-me que eu filmava os ricos, ele filmava os pobres. Respondi-lhe que eu filmo as almas – e as almas tanto há nos ricos como nos pobres.»]

Many thanks to André for this.

Overton window

2009-02-09T16:49:00.004-05:00

never thought I’d live to see the day « ads without products

Swanberg promises

2009-02-06T10:55:00.004-05:00

For those of you thinking that I might have a response to Glenn's thoughts on the work of Joe Swanberg (and Filmbo's followup, plus other assorted defenses and critiques in the works)... well, watch this space.

Update: Craig weighs in. And I can't wait to join the fray.

Kluge Marx Joyce Eisenstein etc

2009-02-04T01:17:00.007-05:00

Alexander Kluge's 570-minute adaptation of Karl Marx's Das Kapital, News from Ideological Antiquity. Marx – Eisenstein – Das Kapital, has been released and is now available only on DVD for under 30 Euros.

I don't see any evidence that there are English subtitles on the disc, but even so -- this is a truly monumental release from one of the most impressively skilled and radical filmmakers.

You can read more about it here.

to reflect concretely on a limited amount of work

2009-02-03T14:14:00.005-05:00

"It’s not important to know then all, but just to know a few well. You don't need to know all the museum when you go to a museum, but only a few paintings. In my case, in fact, for example, I know three paintings by Cezanne very well. It didn't do me any good at all to the museum all the time, but to reflect concretely on a limited amount of work. That’s culture, as they say. It does not consist of having it all, but in having reflected concretely on a few things."
- Jean-Marie Straub

"The fault I find with our journalism is that it forces us to take an interest in some fresh triviality or other every day, whereas only three or four books in a lifetime give us anything that is of real importance."
- Swann’s Way, Marcel Proust

"Comme l’on serait savant si l’on connaissait bien seulement cinq á six livres!"
("How wise one might be if one knew only some half-dozen books well!")
- Gustave Flaubert, in a letter to his mistress Louise Colet, 17 February 1853

(the full paragraph: "Tantôt j’ai fait un peu de grec et de latin, mais pas raide. Je vais reprendre, pour mes lectures du soir, les Morales de Plutarque. C’est une mine d’érudition et de pensées intarissable. Comme l’on serait savant, si l’on connaissait bien seulement cinq á six livres!")

inspired by a debate with Miguel Marías (here).
(some information gleaned/confirmed here)

Distribution is War

2009-01-23T19:14:00.003-05:00

read this, think of the weakening nation-state as the studio distribution model.

Power, Moral Values, and the Developing Mind: Frederick Wiseman's High School, 1968)

2009-01-21T15:02:00.008-05:00

My post on Frederick Wiseman's 1968 film High School is up at The Auteurs' Notebook. I'm really very proud of this piece, which ties together the Athens riots of 2008, Foucault's thoughts on the relationship between power and force, Wiseman's documentary stylistic choices, the changing denotation of the word 'tyranny' in ancient Greece, the psychology of moral development, and the student revolts and social changes of 1968.

Please do read it.

IN MEMORY OF ALEXANDROS GRIGOROPOULOS.

Fair Use (1)

2009-01-14T23:02:00.004-05:00

Folsom v. Marsh 9 F.Cas. 342 (C.C.D. Mass. 1841) (pdf):

"...no one can doubt that a reviewer may fairly cite largely from the original work, if his design be really and truly to use the passages for the purposes of fair and reasonable criticism."

"Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include—
(1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
(2) the nature of the copyrighted work;
(3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
(4) the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors."

Mastery without apparent mastery

2009-01-12T00:53:00.006-05:00

Ben: So, WENDY AND LUCY...
I need a hug.

Dave: yeah. totally.
but soooo good

Ben: I could feel myself being very critical about it on cinematic terms while watching it...oddly so. I didn't think it was poorly made, but I could hear my inner voice saying a lot of, "well, that could have been set up and/or executed more interestingly/thoughtfully." But regardless, I was also aware that I was engaged the whole time.

Then, only after getting out of the movie did I realize that it had affected me more than any other movie this year. And furthermore, in human terms that I can realistically relate to. That never happens. I can watch ROBOCOP and be impressed by the filmmaking and in turn affected metaphorically by the extremity of its melodrama. But WENDY AND LUCY made me contemplate money, privilege, and general shit luck-of-the-draw for a solid hour and a half and then beyond...

Dave: YOU'VE NAILED IT. seriously. that's it - and why it was my #1 film this year; though it wasn't the most 'masterful,' it was the most masterful.

Ben: That's kind of the perfect way of putting it. Mastery without apparent mastery.