DOCSLIB.ORG

21 April 2015 (Series 30:12) Béla Tarr WERCKMEISTER HARMÓNIÁK/WERCKMEISTER HARMONIES (1990, 145 Min)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
21 April 2015 (Series 30:12) Béla Tarr WERCKMEISTER HARMÓNIÁK/WERCKMEISTER HARMONIES (1990, 145 Min) 21 April 2015 (Series 30:12) Béla Tarr WERCKMEISTER HARMÓNIÁK/WERCKMEISTER HARMONIES (1990, 145 min) Directed by Béla Tarr Co-director Ágnes Hranitzky Based on László Krasznahorkai’s novel The Melancholy of Resistance Screenplay by László Krasznahorkai & Béla Tarr Produced by Franz Goëss, Paul Saadoun & Miklós Szita Original Music by Mihály Vig Cinematography by Patrick de Ranter, Miklós Gurbán, Erwin Lanzensberger, Gábor Medvigy, Emil Novák & Rob Tregenza Film Editing by Ágnes Hranitzky Lars Rudolph...János Valuska Peter Fitz...György Eszter Hanna Schygulla...Tünde Eszter János Derzsi...Man In The Broad-Cloth Coat Djoko Rosic...Man In Western Boots (as Djoko Rossich) Tamás Wichmann...Man In The Sailor-Cap Harmonies (2000), Sátántangó/Satan’s Tango (1994), Utolsó hajó Ferenc Kállai...Director (1990), Kárhozat/Damnation (1987), Öszi almanac/Almanac of Mihály Kormos...Factotum Fall (1985), Panelkapcsolat/The Prefab People (1982), Putyi Horváth...Porter Anna/Mother and Daughter (1981), Szabadgyalog/The Outsider Enikö Börcsök (1981), Dübörgö csend (1978), Az utolsó tánctanár (1975), Éva Almássy Albert...Aunt Piri Segesvár (1974). Irén Szajki...Mrs. Harrer Alfréd Járai...Lajos Harrer Lars Rudolph (18 August 1966, Wittmund, Lower Saxony, György Barkó...Mr. Nadabán Germany) has appeared in 87 films and TV programs, among Lajos Dobák...Mr. Volent them Albatross: A Love Story (Short), 2015 Präsenzlücke (Short), András Fekete...Mr. Árgyelán 2015 “Einmal Hallig und zurück” (TV Movie), 2014 “Götz von Sandor Bese...The Prince Berlichingen” (TV Movie), 2014 Therapy for a Vampire, 2013 The Policeman's Wife, 2013 Gold, 2011 Faust, 2010 “Stuttgart Béla Tarr (21 July 1955, Pécs, Hungary) has directed 15 and Homicide” (TV Series), 2009 Soul Kitchen, 2008 “Rosa Roth” written 12 films. Some of the films he has directed are A Torinói (TV Series), De brief voor de koning/The Letter for the King ló/The Turin Horse (2009), A londoni férfi/The Man from London (2008), "Ein Fall für zwei"/ “A Case for Two” (1 episode, 2008), (2007), Visions of Europe (2004, segment Prologue"), Warum Männer nicht zuhören und Frauen schlecht Werckmeister harmóniák/Werckmeister Harmonies (2000), einparken/Why Men Don’t Listen and Women Can’t Read Maps Utazás az alföldön/Journey on the Plain (1995), (2007), Haus der Wünsche/Paperbird (2007), Sátántangó/Satan’s Tango (1994), City Life (1990), Utolsó hajó Fövenyóra/Hourglass (2007), Auf der anderen Seite/The Edge of (1990), Kárhozat/Damnation (1987), Öszi almanac/Almanac of Heaven (2007), Mein Führer - Die wirklich wahrste Wahrheit Fall (1985), Panelkapcsolat/The Prefab People (1982), Macbeth über Adolf Hitler/My Fuhrer (2007), 33X Around the Sun (2005), (1982/II), Szabadgyalog/The Outsider (1981), Családi Luther (2003), Taxi für eine Leiche (2002), Baby (2002/I), The tüzfészek/Family Nest (1979), Hotel Magnezit (1978). Antman (2002), Buffalo Soldiers (2001), Tirana, année zero/Tirana Year Zero (2001), Werckmeister Ágnes Hranitzky has edited 15 films, some of which are: The harmóniák/Werckmeister Harmonies (2000), Die Turin Horse (2011), A londoni férfi/The Man from London (2007), Unberührbare/No Place to Go (2000), Die Nichte und der Tod Töredék (2007), Werckmeister harmóniák/Werckmeister Tarr—WERCKMEISTER HARMONIES—2 (1999), 36 Stunden Angst/36 Hours (1998), Lola rennt/Run Lola episodes, 1980), Die Ehe der Maria Braun/The Marriage of Run (1998), Fette Welt/Fat World (1998), Not a Love Song Maria Braun (1979), Ansichten eines Clowns/The Clown (1976), (1997), Go for Gold! (1997), Eine Seekrankheit auf festem Falsche Bewegung/The Wrong Movement (1975), Die bitteren Lande/Seasick on Solid Ground (1996), Mesmer (1994). Tränen der Petra von Kant/The Bitter Tears of Petra von Kant (1972), Warnung vor einer heiligen Nutte/Beware of a Holy Peter Fitz (8 August 1931, Kaiserslautern, Germany—d. January Whore (1971), Mathias Kneissl (1970), Das Kaffeehaus/The 10, 2013 (age 81) in Berlin, Germany) appeared in 129 films and Coffeehouse (1970), Götter der Pest/Gods of the Plague (1970), TV series, some of which are “Ein Sommer in Paris” (TV Movie), Liebe ist kälter als der Tod/Love Is Colder Than Death (1969), 2009 “Bis an die Grenze” (TV Movie), 2008 “Das Glück am Der Bräutigam, die Komödiantin und der Zuhälter/The Horizont” (TV Movie), "Donna Leon" (6 episodes, 2002-2008), Bridegroom, the Actress and the Pimp/The Bridegroom, the Meine Mutter, mein Bruder und ich! (2008), Weisse Lilien/Silent Comedienne and the Pimp (1968). Resident (2007), Die Braut von der Tankstelle (2005), "Kanzleramt" (1 episode, 2005), Hamlet_X (2003), September Mihály Vig (b. September 21, 1957 in Budapest, Hungary) has (2003), Planet der Kannibalen/Planet of the Cannibals (2001), composed the music for 18 films, including 2013 The Long Way "Bronski & Bernstein” (8 episodes, 2001), Werckmeister Home, 2012 Story of an Eye (Short), 2012 Daymark, 2011 The harmóniák/Werckmeister Harmonies (2000), "Tatort" (4 episodes, Turin Horse, 2008 Die Tochte, Saját halál/Own Death (2008), A 1988-1999), 23/23 - Nichts ist so wie es scheint (1998), Null londoni férfi/The Man from London (2007), Visions of Europe Risiko und reich (1997), 14 Tage lebenslänglich (1997), (2004) (segment "Prologue"), Werckmeister Conversation with the Beast (1996), Babuschka (1996), "Wolffs harmóniák/Werckmeister Harmonies (2000), Utazás az Revier" (1 episode, 1996), Flirt (1995), Das sprechende alföldön/Journey on the Plain (1995), Sátántangó/Satan’s Tango Grab/Four Junior Detectives II (1994), Die Denunziantin/The (1994), Utolsó hajó (1990), Rock térítö (1988), Denunciation (1993), Alles Lüge/All Lies (1992), All Out/De plein Kárhozat/Damnation (1987), Öszi almanac/Almanac of Fall fouet (1991), Dr. M/Club Extinction (1990), Die (1985), Eszkimó asszony fázik/Eskimo Woman Feel Cold (1984) Wannseekonferenz/ Hitler's Final Solution: The Wannsee Conference (1984), Faust (1982), Die Brüder/The Brothers BÉLA TARR from Facets Cine-Notes. “Bela Tarr: A Cinema (1977), Ein Fingerhut voll Mut (1960). of Patience.” 2006. A Brief Biography Known for reinvigorating the tradition of contemplative cinema, Bela Tarr belongs to that group of young Hungarian directors who came to prominence in the 1990s through their dour, enigmatic, and highly stylized films. Tarr was born in Pecs, Hungary in 1955. As a teenager, he worked as an unskilled laborer in a shipyard and as a janitor, but he was also serious about film, and he began directing amateur movies at age 16. His movies eventually attracted the attention of the Bela Belazs Studio for young filmmakers, a government- supported organization that provided professional equipment and funding for budding directors. The studio funded Tarr’s first feature, Family Nest (Csaladi Tuzfeszek). In 1977, Tarr entered the Academy of Theatre and Film Art in Budpest. While a student, he directed his second film, The Outsider, which was shot in the semi-documentary style that Hanna Schygulla (25 December 1943, Königshütte, Upper characterized the “Budapest School.” Like most films from this Silesia, Germany [now Chorzów, Górny Slask, Poland]) has movement, The Outsider captured the problems and daily lives of appeared in 95 films, some of which are 2014 The Quiet Roar, ordinary Hungarians in the hopes of improving conditions. Tarr 2012 Pandemia, 2012 Avanti, 2011 Faust, 2009 “Clara, une graduated in 1981. passion française” (TV Movie), 2008 “Stolberg” (TV Series), Auf His style began to change in 1982 with a version of der anderen Seite/The Edge of Heaven (2007), Winterreise/Winter Macbeth that he directed for Hungarian television. With this film. Journey (2006), Vendredi ou un autre jour/Friday or Another Day Tarr not only moved away from the realistic style of semi- (2005), Promised Land/ Ha-Aretz Hamuvtachat (2004/II), documentary but also from his use of raw close-ups. Instead, he Absolitude (2001), Werckmeister harmóniák/Werckmeister exhibited a preference for long shots in long takes, which pushed Harmonies (2000), Milim/Metamorphosis of a Melody (1996), his work closer toward abstraction. Just over an hour, Macbeth Pakten/Waiting for Sunset (1995), Mavi Surgun/The Blue Exile consisted of only two shots. (1993), Madame Bäurin (1993), Golem, le jardin pétrifié/Golem: Often compared to Michelangelo Antonioni and Andrei The Petrified Garden (1993), Golem, l'esprit de l'exil/Golem, the Tarkovsky, Tarr pursued a distanced, detached style in the films Spirit of the Exile (1992), Dead Again (1991), Aventure de that followed Macbeth. In 1994, he garnered international Catherine C. (1990), Casanova (1987), Miss Arizona (1987), attention with Satan’s Tango (Satantango), a seven-and-a-half- Barnum (1986), The Delta Force (1986), Heller Wahn/Sheer hour film about a failed collective farm that seemed to capture the Madness (1983), Passion/Godard’s Passion (1982), La nuit de malaise and decay of post-Communist Eastern Europe. Varennes/That Night in Varennes (1982), Die Fälschung/Circle of Bela Tarr has been employed by MAFILM Studios, Deceit (1981), Lili Marleen (1981), "Berlin Alexanderplatz" (12 Hungary’s primary film studio, since 1981. Between films, he Tarr—WERCKMEISTER HARMONIES—3 serves as a visiting professor at the Film Academy in Berlin, Because films are our only means of authenticating our Germany, and he has been a member of the European Film lives. Eventually nothing remains of us except our films—strips of Academy since 1996. celluloid on which our shadows wander in search of truth and humanity until the end of time. Why I Make Films [Bela Tarr, during preproduction for I really don’t know why I make films. Damnation, 1987] Perhaps to survive, because I’d still like to live, at least Right at the center of a seemingly incomprehensible world, at the just a little longer…. age of 32, the question “why do I make films” seems unanswerable. I don’t know. The Melancholy of Resistance: The Films of Bela Tarr All I know is that I can’t make films if people don’t let This essay was excerpted from a longer article by Peter Hames me. If I don’t receive trust and funding I feel like I don’t exist.
Load more

Recommended publications
  • Alive to Boredom
    Alive to Boredom MARIEL VICTORIA MOK If you ever find yourself looking for something boring to watch, just pick one of Béla Tarr’s films. They are among the most boring films you might ever hope to find: intensely, immersively, and fascinatingly—transcen- dentally, even—boring. Tarr’s The Turin Horse (2011) is almost static, moving at what David Campany, in Photography and Cinema, terms a “glacial tempo” (37). Tarr’s cam- era crawls almost painfully slowly, and the living, breathing humans in the film often move less than the objects around them. The film follows Ohlsdorfer—an elderly man—and his daughter over the course of six days, as they mechanically carry out a routine we can infer was established long ago. Tarr follows their every move, even when what they are doing seems trivial, and even—especially—when they aren’t doing anything at all. In one scene, Ohlsdorfer’s daughter walks to the stove after he lies down to rest; she holds a pot, collects two potatoes, places them inside the pot, and, after pouring water into the pot, begins boiling the potatoes. She sits facing the window, completely still as she looks out and waits. Only the stillness of the scene itself surpasses the stillness of her form: the only movement comes from the leaves that flutter outside, visible through the windowpanes. Tarr’s camera edges steadily until it stops directly behind her, and with a rigid, symmetrical, and static shot, plasters her in a lifeless position of solitude. We look at her back as she looks out the window; the light from the stove occasionally flickers, but beyond that, there is no movement from her or the camera for one and a half minutes.
    [Show full text]
  • Introduction
    Introduction Spatial studies that emerged as a nascent discourse in the post Second World War period has suddenly assumed prominence with the spatial turn in poststructuralist theories. Globalisation, with its liberal immigration policies, has transformed the spatial experiences of individuals and reconfigured the world, redefining spatial relations and reordering existing spatial structures. The virtual space provided by the Internet has added a new spatial experience, which is at once heterotopic and panoptic. The spatial turn in academic discourses leads to the emergence of the politics of spatiality in the practice of everyday life enacted in the social space. In this regard, Robert T. Tally Jr. explains: “The spatial turn is . a turn towards an understanding of our lives as situated in a mobile array of social and spatial relations that, in one way or another, need to be mapped” (17). The fundamental pattern of discursive enquiry has changed: every cultural critique is now punctuated with questions of space, spatiality and spatial relations. Spatial practices have become prominent along with cultural and social practices. The ontological enquiry of space has evolved from space as a container of objects to space as a structured and mediated reflection of social/power relations. Space has been a complex and problematic term in cultural critique. The noted geographer Bertrand Westphal observes that the cosmopolitan diaspora caused by “grand migrations occasioned by economic or political exigencies 2 specific to the industrial, and especially the post-industrial era” has called for a rereading of space (25). A study of the spatial representations in literature opens up a changing world where new spatial experiences and perplexities get constructed.
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]
  • A Film by Béla Tarr Winner Of
    THE TURIN HORSE A film by Béla Tarr Winner of Selected Distribution Spanish Distribution: Press: Irene Visa Mayca Sanz T: +34 932 033 025 T: +34 931 240 353 [email protected] +34 629 91 61 87 [email protected] www.pacopoch.cat/theturinhorse/ Synopsis In Turin in 1889, Nietzsche witness the mistreatment that a farmer inflicts on his exhausted carriage horse. The philosopher flings his arms around the horse, then looses consciousness and his mind for the rest of his life. Somewhere in the countryside: a farmstead, the farmer, his daughter, a cart and the old horse. Outside, a violent windstorm rises. Credits Cast Director Béla Tarr Ohlsdorfer János Derzsi Writers Béla Tarr, László Krasznahorkai Ohlsdorfer’s daughte Erika Bók Co-director & editor Ágnes Hranitzky Bernhard Mihály Kormos Cinematography Fred Kelemen Horse Ricsi Set construction Sándor Kállay Music Mihály Víg Line Producer Gábor Téni Producers por Gábor Téni, Marie-Pierre Macia, Juliette Lepoutre, Ruth Waldburger, Martin Hagemann Executive production Werc Werk Works – Elizabeth G. Redleaf, Christine K. Walker Production companies de T.T. Filmmühely, MPM FILM, Vega Film, Zero fiction film With the support of MMKA, OKM, MTFA, Duna TV, Erste Bank, Radiotelevisione Svizzera, SGR SSR, CNC Paris, Kodak, Medienboard Berlin- Brandenburg, Eurimages Hungary / France / Switzerland / USA / Germany. 35mm. B/W. 146 min. 1: 1,66 Dolby SRD. Language: Hungarian. Year: 2011 On “The Turin Horse” In this, his self-declared last film, the renowned Hungarian filmmaker “Our film follows up this question: Béla Tarr collaborates again with his co-autor, the writer László What did in fact happen to the Krasznahorkai, on the screenplay of The Turin Horse.
    [Show full text]
  • Download (386.44KB)
    Cronfa - Swansea University Open Access Repository _____________________________________________________________ This is an author produced version of a paper published in : The Routledge Companion to World Cinema Cronfa URL for this paper: http://cronfa.swan.ac.uk/Record/cronfa29914 _____________________________________________________________ Book chapter : Rydzewska, J. (2017). Developments in Eastern European Cinema since 1989. R. Stone, P. Cooke, S. Dennison, A. Marlow-Mann (Ed.), The Routledge Companion to World Cinema, Routledge. _____________________________________________________________ This article is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence. Authors are personally responsible for adhering to publisher restrictions or conditions. When uploading content they are required to comply with their publisher agreement and the SHERPA RoMEO database to judge whether or not it is copyright safe to add this version of the paper to this repository. http://www.swansea.ac.uk/iss/researchsupport/cronfa-support/ Developments in Eastern European Cinemas since 1989 Elżbieta Ostrowska, University of Alberta Joanna Rydzewska, Swansea University ABSTRACT This chapter examines the ways in which Eastern European cinema has become Europeanized. It looks at how the idea of Eastern Europe and its cinema has been shaped vis-à-vis the West, and redefined after the collapse of communism. Contrary to the received wisdom that a new paradigm emerged in 1989, this chapter argues that it is only since 2000 that Eastern European cinema has enjoyed recognition after the near collapse of its film industries in the 1990s. In the three case studies of the Hungarian filmmaker Béla Tarr, Eastern European female directors and the Romanian New Wave, the chapter analyses the emergence in Eastern Europe of a new complex model of film production aligned with its larger European counterpart.
    [Show full text]
  • 4-11 Nov 2011
    4-11 NOV 2011 Edita Sevilla Festival de Cine Europeo Director Artístico Javier Martín-Domínguez Documentación y Catálogo Antonio Abad Albarrán, Adeline Clement, Blanca García, Borja Moreno Traducción Deidre MacClowskey, Mathilde Grange Cesión de Fotografías Danish Film Institute, Lolo Vasco, Norwegian Film Institute, Swedish Film Institute, Polish Film Institute Producción Editorial Below Impresión J. de Haro Artes Gráficas, S.L. Depósito Legal SE-7934-2011 ÍNDICE TABLE OF CONTENTS 5 página CARTEL SEFF’11 POSTER SEFF’11 12 PREMIOS 2011 2011 AWARD 16 JURADO JURY 30 SECCIÓN OFICIAL OFFICIAL SECTION 36 SELECCIÓN EFA EFA SELECTION 70 EURIMAGES 104 EURODOC 122 EYE ON FILMS - MEDIA MUNDUS 154 FIRST FILMS FIRST 156 CELEBRACIÓN DEL CINE RUSO CELEBRATION OF RUSSIAN CINEMA NUEVO CINE RUSO NEW RUSSIAN CINEMA 176 CICLO NIKITA MIKHALKOV NIKITA MIKHALKOV PROGRAM 194 RUSSIA IN SHORT. ARTHOUSE IN SHORT-METRAGE 200 CICLO AMOS GITAI AMOS GITAI PROGRAM 206 CANAL ARTE ARTE CHANNEL 212 SHORT MATTERS’11 219 HISTORIA(S) DEL CINE HISTOIRE(S) DU CINÉMA 227 PANORAMA ANDALUZ ANDALUSIAN PANORAMA 232 TARDE DE TOROS AN AFTERNOON OF BULLFIGHTING 250 TRES CULTURAS THREE CULTURES 254 EUROPA JUNIOR 257 MES DE DANZA 261 FORO INDUSTRIA INDUSTRY FORUM 264 ACTIVIDADES PARALELAS PARALLEL ACTIVITIES 270 ÍNDICE DE TÍTULOS TITLES INDEX 278 LISTADO DE CONTACTOS CONTACTS LIST 282 7 Durante los días 4 y 11 de noviembre Sevilla acoge el During the period from 4th to 11th November, Seville will Festival de Cine Europeo, un festival que este año pre- welcome the European Film Festival, a festival that this tende estar más cerca de los sevillanos.
    [Show full text]
  • Budapest 2001
    Budapest 2001 By Ron Holloway Fall 2001 Issue of KINEMA HUNGARIAN FILM WEEK BUDAPEST Awarded both the Main Prize of the Hungarian Jury and the Gene Moskowitz Critics Prize at the 32nd Hun- garian Film Week (1-6 February 2001), Béla Tarr’s Werckmeister Harmoniak (The Werckmeister Harmonies) crowned the Budapest festival with one of the finest European films produced in 2000. The two-and-a-half- hour screen adaptation of Laszlo Krasznahorkai’s novel The Melancholy of Resistance (published in 1989) was four years in the making (1996-2000) and could be brought to completion only with coproduction assis- tance of visionary Berlin producer Joachim von Vietinghoff. And who else but Béla Tarr, Hungary’s leading avant-garde filmmaker, would spend three years (1991-94) bringing another Krasznahorkai novel, Satantango (published in 1985), to the screen in an hypnotic seven-and-a-half-hour tour-de-force? Queried at Cannes 2000, where The Werckmeister Harmonies premiered at the Directors Fortnight, why his fascination for Laszlo Krasznahorkai’s literary oeuvre, Béla Tarr simply answered: ”We complement each other.” Together over the last twelve years, they have collaborated on no less than four screen adaptations: Damnation (1987), The Last Boat (1989), a short feature for the City Life series sponsored by the Rotterdam festival, the acclaimed masterpiece Satantango (1994), and now The Werckmeister Harmonies. The impor- tant films are the thematic, stylistic trilogy Damnation, Satantango, and The Werckmeister Harmonies -- all photographed in haunting black-and-white (cameraman Gabor Medvigy) and set in isolated blotches on a landscape inhabited by human wrecks.
    [Show full text]
  • CATÁLOGO CATALOGUE Coordenação Editorial Publishing Coordination
    13 MOSTRA MUNDIAL WORLD CINEMA 41 MÚSICA DO UNDERGROUND UNDERGROUND MUSIC 57 RETROSPECTIVA BÉLA TARR RETROSPECTIVE BÉLA TARR 79 RETROSPECTIVA CLAIRE DENIS RETROSPECTIVE CLAIRE DENIS CINESESC | CINE OLIDO INDIE 11 | POR UM CINEMA INQUIETO INDIE 11 | FOR A RESTLESS CINEMA Se considerarmos que o cinema é um exercício de criação por meio do mento é limitado, não os recur- If we consider the cinema an exercise of creation which enables us to construct such cinema tends to make aesthetic qual construímos realidades próximas às vividas ou imaginadas, nos sos. Com liberdade sutil, esse realities similar to the ones lived or imagined, by presenting ourselves with the choices that show us what is invis- colocando numa tarefa lúdica de desvendar suas camadas, é fatal per- cinema tende a fazer escolhas playful task of unraveling its layers, it is inevitable to realize how this is such a ible or imperceptible in our realities, ceber o quanto essa arte é complexa e dispendiosa. estéticas que mostram aquilo complex and expensive art. which, in turn, are always too hectic to que é invisível ou imperceptível let us see what they are made of. A nós espectadores, é posta a escolha de uma narrativa, decorrem inte- em nossas realidades atribula- To us, viewers, is given the choice of a narrative from which interactions between rações entre a linguagem visual e sonora; de repente, surgem tempos, das demais para que perceba- the audible and visual language take place; suddenly, there comes times, places In this edition, all these character- lugares e as pessoas em suas escolhas.
    [Show full text]
  • Film Festivals, Film Criticism, and the Internet in the Early Twenty-First Century
    Portland State University PDXScholar University Honors Theses University Honors College 1-1-2012 Instant Canons: Film Festivals, Film Criticism, and the Internet in the Early Twenty-First Century Morgen Ruff Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Ruff, Morgen, "Instant Canons: Film Festivals, Film Criticism, and the Internet in the Early Twenty-First Century" (2012). University Honors Theses. Paper 13. https://doi.org/10.15760/honors.13 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. INSTANT CANONS: FILM FESTIVALS, FILM CRITICISM, AND THE INTERNET IN THE EARLY TWENTY- FIRST CENTURY by Morgen Ruff A thesis submitted in partial fulfillment of the requirements for the Bachelor of Arts degree in Film Studies in the School of Fine and Performing Arts of Portland State University May 2012 Thesis Supervisor: Professor Mark Berrettini 2 Above and beyond the loss of material, the living history of cinema, like any other history, is riddled with memory losses which, while aggravated and accelerated by the physical extinction of so many works, also encompass vast amounts of significant achievement extant but little seen or heard of. What were revered classics for one generation of filmgoers slip into oblivion for the next, the result of everything from changes in taste to trends in the economics of theatrical and non-theatrical distribution to the withering of repertory cinema -- conditions all symbiotically linked to a host of other factors as well.
    [Show full text]
  • The Demon of Béla Tarr: Between Cinema, Literature and Education
    http://dx.doi.org/10.1590/1980-6248-2017-0092 e-ISSN 1980-6248 ARTIGOS O demônio de Béla Tarr: entre cinema, literatura e educação 1,2 The demon of Béla Tarr: between cinema, literature and education Breno Isaac Benedykt (i) Cintya Regina Ribeiro (ii) (i) Universidade de São Paulo – USP. São Paulo, SP, Brasil. https://orcid.org/0000-0003-4914-8500, [email protected] (ii) Universidade de São Paulo – USP. São Paulo, SP, Brasil. https://orcid.org/0000-0002-7924-4539, [email protected]. Resumo: Na presente investigação, buscamos discutir a experiência de pensamento a partir de uma perspectiva filosófica orientada pelos escritos de Gilles Deleuze e Félix Guattari. Intentamos problematizar modos representacionais de pensamento constitutivos da atualidade, a fim de perscrutar seus desdobramentos filosóficos no campo da educação. Para tal, analisamos filosoficamente uma experiência de pensamento talhada a partir do encontro entre cinema e literatura. De forma mais circunscrita, elegemos o trabalho do cineasta Béla Tarr como ocasião profícua de articulação entre certo modo de construção da obra cinematográfica em condição de encontro com a obra literária, explorando as singularidades dessa criação para configurar aquilo que denominamos aqui como um procedimento tarriano. Assim, o artigo conclui que o encontro com a sensibilidade das imagens tarrianas nos incita a tocar a sensibilidade do próprio pensamento, esse lugar no qual a educação pode forjar suas potências. Palavras-chave: Béla Tarr, cinema, Deleuze-Guattari, literatura, pensamento 1 Normalização, preparação e revisão textual: Mônica Silva (Tikinet) – [email protected] 2 Esta pesquisa foi realizada com apoio da Fundação de Amparo à Pesquisa do Estado de São Paulo (Fapesp), sob processo nº 2014/03049-3, instituição à qual agradecemos.
    [Show full text]
  • La Imagen Tiempo. Pintura Y Cine
    UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE BELLAS ARTES TESIS DOCTORAL La imagen tiempo. Pintura y cine MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Daniel González Coves DIRECTORA María Dolores Fernández Martínez Madrid © Daniel González Coves, 2019 Universidad Complutense de Madrid Facultad de Bellas Artes La imagen tiempo. Pintura y cine Tesis doctoral presentada por Daniel González Coves Bajo la dirección de la doctora María Dolores Fernández Martínez Madrid, 2019 !1 UN IVERSIDAD COMPLUTENSE MADRID DECLARACIÓN DE AUTORÍA Y ORIGINALIDAD DE LA TESIS PRESENTADA PARA OBTENER EL TÍTULO DE DOCTOR D./Dña. Daniel González Coves estudiante eo el Programa de Doctorado Doctorado en Bellas Artes de la Facultad de Bellas Artes de la Universidad Complutense de Madrid, como autor/a de la tesis presentada para la obtención del título de Doctor y titulada: La imagen tiempo. Pintura y cine y dirigida por: María Dolores Fernández Martínez DECLARO QUE: La tesis es una obra original que no infringe los derechos de propiedad intelectual ni los derechos de propiedad industrial u otros, de acuerdo con el ordenamiento jurídico vigente, en pa1ticular, la Ley de Propiedad Intelectual (R.D. legislativo 11l996, de 12 de abril, por el que se aprueba el texto refundido de la Ley de Propiedad Intelectual, modificado por la Ley 2/2019, de 1 de marzo, regularizando, aclarando y armonizando las disposiciones legales vigentes sobre la materia), en particular, las disposiciones referidas al derecho de cita. Del mismo modo, asumo frente a la Universidad cualquier responsabilidad que pudiera derivarse de la autoría o falta de originalidad del contenido de la tesis presentada de confo1midad con el ordenamiento jmídico vigente.
    [Show full text]
  • Notes on Some Scenes from Béla Tarr Peter Szendy
    Abstract: Among all the animals that haunt the films of Béla Tarr, there C R is one, the owl, that demands we challenge Giorgio Agamben’s binary I and metaphysical definition of man as the only “moviegoing animal.” S Animal filmicum: I The owl then leads to the whale and the horse. Together, they raise a series of questions reminiscent of Aristotle’s remarks about the eyes of S animals and their dreams. What if, far from being the priviledged domain & of mankind, cinema constitutively included the pivoting or panning of Notes on Some C an animal gaze? After Bresson and a few others, Tarr’s films open new R perspectives onto this “filmanimal.” I T Keywords: Agamben, animality, Aristotle, cinema, gaze, Tarr I Scenes from Béla Tarr Q U E / Cows mooingly come out of barns to spread on the muddy ground. The camera follows them and begins a slow lateral tracking shot along the Volume 7.2 / dilapidated buildings of the village. It stops when, through a path between Issue 2 the walls of the barracks, we see the cows again, and chickens now seem Peter Szendy to want to join. The camera remains stationary. The cows end up leaving the frame. The chickens too. Fade to black. No visible human figure inhabits these first eight minutes of Béla Tarr’s Sátántangó (1994). The only human beings who can be assumed to be involved in the scene in any way—external stakeholders, so to speak— are those who, not appearing in the images, may be watching, like me at this very moment, the screen where they are projected.
    [Show full text]