DOCSLIB.ORG

THE INDISCREET CHARM of DISGUST. the AESTHETICS of EXCESS and PERVERSION in the CINEMA of LUIS BUÑUEL, MARCO FERRERI and PETER GREENAWAY Marie Rebecchi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE INDISCREET CHARM of DISGUST. the AESTHETICS of EXCESS and PERVERSION in the CINEMA of LUIS BUÑUEL, MARCO FERRERI and PETER GREENAWAY Marie Rebecchi THE INDISCREET CHARM OF DISGUST. THE AESTHETICS OF EXCESS AND PERVERSION IN THE CINEMA OF LUIS BUÑUEL, MARCO FERRERI AND PETER GREENAWAY Marie Rebecchi To cite this version: Marie Rebecchi. THE INDISCREET CHARM OF DISGUST. THE AESTHETICS OF EXCESS AND PERVERSION IN THE CINEMA OF LUIS BUÑUEL, MARCO FERRERI AND PETER GREENAWAY. Arts & Foods, 2015. hal-03226507 HAL Id: hal-03226507 https://hal.archives-ouvertes.fr/hal-03226507 Submitted on 14 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 416 417 THE INDISCREET CHARM OF DISGUST. THE AESTHETICS OF EXCESS AND PERVERSION IN THE CINEMA OF LUIS BUÑUEL, MARCO FERRERI AND PETER GREENAWAY 737 L’Âge d’or, by Luis Buñuel, 1930 MARIE REBECCHI 418 MARIE REBECCHI 419 “FOR THE EYE—AS STEVENSON It is in the conflict between repulsion EXQUISITELY PUTS IT, A CANNIBAL and attraction, between incorporation DELICACY—IS, ON OUR PART, and expulsion, and in the very THE OBJECT OF SUCH ANXIETY iteration of these experiences that THAT WE WILL NEVER BITE INTO IT.” we have to trace the conditions for GEORGES BATAILLE, DOCUMENTS, the possibility of disgust. In fact 1929, NO. 4 one of the privileged paths to the aesthetic experience of disgust1 can appear when pleasure and desire are oriented towards disgusting or revolting images or objects. In the aesthetics of the Enlightenment,2 the founding fathers of the discipline did not contemplate the possibility of a “taste for the distasteful,”3 thereby denying the existence of an aesthetic pleasure caused by the ambivalent attraction of the disgusting. But in twentieth-century aesthetics the landscape changed dramatically. It is definitely the cinema, more than any other medium, that has wrestled with this outrageous paradox, seeking to show the indigestible and obscene ambiguity that dwells in the feeling of disgust. In this respect, Julia Peker speaks of the “logical scandal of ambivalence,”4 observing that the attraction of what disgusts us is capable of creating a lacerating contradiction in our feelings, an ambiguity as insoluble as it is recurrent. What happens when we experience desire and disgust for a single “dark object,” either simultaneously or alternately? It is through the “sensuous”5 experience of disgust, excess, and the unspeakable pleasure procured by the forms of aesthetic perversion of taste that the relation between the food and the cinema is manifested in one of its most extreme and cruel forms.6 Directors and authors such as Luis Buñuel, Marco Ferreri and Peter Greenaway have explored this dimension directly, showing that only the overflowing violence of certain cinematic images is capable of giving visibility to the indiscreet fascination of disgust. BUÑUEL: FROM THE “LAND OF DESIRE” TO “LAND WITHOUT BREAD” In Buñuel’s Surrealist cinema of the late 1920s the relation with food and eating is expressed almost exclusively in sublimated ways, in the erotic and perverse dimension of desire. The act of eating is present in the modes of intensive figuration of sex, for example through a series of explicit replacement images.7 This mechanism is employed in some famous sequences of L’Âge d’or (1930), among them the macro-sequence depicting the two lovers in the garden, where the erotic desires of the man and the woman find an outlet in perverse cannibalistic instincts. We see the actress Lya Lys who, after voluptuously sucking her lover’s fingers, bites his hand, mutilating it with sadistic gusto. “Eros is mixed with the ugly and 744 L’Âge d’or, by Luis Buñuel, 1930 mutilation. It seems to imply a kind of esthétique de la laideur that breaks into the film, as had already happened in the sequence of love-making in the mud. Eros is bound up with a disagreeable dimension, represented on a particular plane of ambiguity and polysemy.”8 The other sequence that enables us to observe this replacement mechanism is clearly the one where Lya Lys sucks the big toe of an enormous marble statue: an obvious fetish that Freudian symbolism tends to connect with the phallus.9 The idea of eroticism suggested by this scene, as sacrificial violation and devouring appropriation of the other, is perfectly aligned with some of the ideas underlying Bataille’s theory of eros. In two texts published in 1929 and 1930 in the journal “Documents,” respectively entitled “Le Gros orteil” (The Big Toe)10 and “Bouche” (Mouth),11 one can already find a possible interpretation of the 420 MARIE REBECCHI 421 sequence in question. In particular, the photographs by Jacques-André Boiffard accompanying Bataille’s two texts (the magnification of two toes and a gaping mouth) to highlight two fundamental aspects that the erotic sequence in the garden in L’Âge d’or evokes explicitly: the irrepressible attraction to one of the most disgusting parts of the human body, or the big toe, and the desire to orally satisfy this drive, by opening the mouth wide, the better to taste and devour the object of this same desire. As Bataille says in his provocative article devoted to the “ignoble big toe,” “arrogant and proud” in its hideously cadaveric guise: “As for the big toe, classic foot fetishism leading to the licking of toes categorically indicates that it is a phenomenon of base seduction, which accounts for the burlesque value that is always more or less attached to the pleasures condemned by pure and superficial men.”12 According to Bataille, the most elementary aspect of appropriation is always presented in the form of oral consumption, considered as communion, participation, identification, incorporation or assimilation.13 In this sense the mouth is described by Bataille as the “prow of animals,”14 downgraded to an organ capable of bestially liberating men’s (and women’s) impulses. In the same way, the eye (the subject of the entry “Œil” in the critical dictionary of Documents by Desnos, Bataille and Griaule15) is definitely not described as the highest and noblest organ of the human body. Through Bataille’s “cannibal” gaze, the eye becomes an edible object, downgraded to a friandise cannibal (a “cannibal delicacy”).16 In Bataille’s article, the eye significantly evokes two cinematic images. The first is the famous sliced eye in the prologue to Buñuel and Dalí’s Un Chien andalou (1929—it was not published in the review but suggested in a note to the article—and the other, published in the body of the text, represents the eyes of Joan 741 Le Fantôme de la liberté, Crawford in a state of ecstasy: i.e. beside herself, bulging out of their sockets … by Luis Buñuel, 1974 Buñuel’s eye becomes a true friandise cannibal, being concretely turned into a boiled egg dissected by the blade of a knife in the film by Roger Barlow, Harry Hay & LeRoy Robbins, Even – As You and I (1937). The sequences parodying Un Chien andalou are set in a broader framework: three authors decide to participate in a contest for amateur movie makers (Liberty – Pete Amateur Movie Contest), but are unable to think up ideas for the screenplay. After browsing the catalog of the exhibition Fantastic Art, Dada and Surrealism, curated by Alfred Barr at the Museum of Modern Art, New York, (in which we catch glimpses of works by Salvador Dalí and Meret Oppenheim), the three decide to write a film in the Surrealist vein, throwing together a variety of motifs inspired by the great European avant-garde auteurs (Hans Richter, René Clair, Abel Gance, Sergei M. Eisenstein, Dziga Vertov, Luis Buñuel). The movie then shows the shooting, editing and screening of this film, which will be called The Afternoon of a Rubberband.17 Even – As You and I retrieves and reproduces some avant-garde motifs, ironically perverting and downgrading them through a series of mocking references to food: the eyeball sadistically dissected by a razor blade in Un Chien andalou is first evoked by a light bulb lying in a frying pan, then by a razor slicing into the white of a hard-boiled egg.18 Shortly after the release of Un Chien anadalou and L’Âge d’or, in the fall of 1930, Buñuel was invited by a representative of Metro-Goldwyn-Mayer to stay six months in the United States to “learn some good American technical skills … and … learn how to make a movie.”19 After the American experience, in April 1931 Buñuel decided to return to Madrid and undertook the considerable feat of making the documentary Las Hurdes, Tierra sin pan (1932), about the wretched and desolate land without bread in the Extremadura, only a few hours from the metropolitan life of Madrid.20 With this documentary of denunciation, Buñuel concretely explored excess and scarcity in relation to food. Excess appears in the violence with which he depicted the destitution of the population of Las Hurdes, 422 MARIE REBECCHI 423 while scarcity is directly connected with the hunger and scarcity of food evoked by the title of the documentary. The images of food shortages, starvation, poverty, disease, death, degradation, the deformations of the earth and the inhabitants of Las Hurdes, mercilessly shown through a harrowing visual concert set to the notes of Brahms’s Symphony No. 4, overwhelm the inevitably anguished viewer, exasperated and aware of his own helplessness.
Load more

Recommended publications
  • Habemus Papam
    Fandango Portobello presents a Sacher Films, Fandango and le Pacte production in collaboration with Rai and France 3 Cinema HABEMUS PAPAM a film by Nanni Moretti Running Time: 104 minutes International Fandango Portobello sales: London office +44 20 7605 1396 [email protected] !"!1!"! ! SHORT SYNOPSIS The newly elected Pope suffers a panic attack just as he is due to appear on St Peter’s balcony to greet the faithful, who have been patiently awaiting the conclave’s decision. His advisors, unable to convince him he is the right man for the job, seek help from a renowned psychoanalyst (and atheist). But his fear of the responsibility suddenly thrust upon him is one that he must face on his own. ! ! ! ! ! ! ! ! ! ! ! ! !"!2!"! CAST THE POPE MICHEL PICCOLI SPOKESPERSON JERZY STUHR CARDINAL GREGORI RENATO SCARPA CARDINAL BOLLATI FRANCO GRAZIOSI CARDINAL PESCARDONA CAMILLO MILLI CARDINAL CEVASCO ROBERTO NOBILE CARDINAL BRUMMER ULRICH VON DOBSCHÜTZ SWISS GUARD GIANLUCA GOBBI MALE PSYCHOTHERAPIST NANNI MORETTI FEMALE PSYCHOTHERAPIST MARGHERITA BUY CHILDREN CAMILLA RIDOLFI LEONARDO DELLA BIANCA THEATER COMPANY DARIO CANTARELLI MANUELA MANDRACCHIA ROSSANA MORTARA TECO CELIO ROBERTO DE FRANCESCO CHIARA CAUSA MASTER OF CEREMONIES MARIO SANTELLA CHIEF OF POLICE TONY LAUDADIO JOURNALIST ENRICO IANNIELLO A MOTHER CECILIA DAZZI SHOP ASSISTANT LUCIA MASCINO TV JOURNALIST MAURIZIO MANNONI HALL PORTER GIOVANNI LUDENO GIRL AT THE BAR GIULIA GIORDANO BARTENDER FRANCESCO BRANDI BOY AT THE BUS LEONARDO MADDALENA PRIEST SALVATORE MISCIO DOCTOR SALVATORE
    [Show full text]
  • A Continuation of Myth: the Cinematic Representation of Mythic American Innocence in Bernardo Bertolucci’S Last Tango in Paris and the Dreamers
    A CONTINUATION OF MYTH: THE CINEMATIC REPRESENTATION OF MYTHIC AMERICAN INNOCENCE IN BERNARDO BERTOLUCCI’S LAST TANGO IN PARIS AND THE DREAMERS Joanna Colangelo A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of The requirements for the degree of MASTER OF ARTS December 2007 Committee: Carlo Celli, Advisor Philip Hardy ii ABSTRACT Carlo Celli, Advisor The following thesis aims to track the evolution and application of certain fundamental American cultural mythologies across international borders. While the bulk of my discussion will focus on the cycle of mythic American innocence, I will pay fair attention to the sub-myths which likewise play vital roles in composing the broad myth of American innocence in relation to understanding American identities – specifically, the myth of the Virgin West (or America-as-Eden), the yeoman farmer and individualism. When discussing the foundation of cultural American mythologies, I draw specifically from the traditional myth-symbol writers in American Studies. Those works which I reference are: Henry Nash Smith’s, Virgin Land: The American West as Symbol and Myth, Leo Marx’s, The Machine in the Garden: Technology and the Pastoral Ideal in America and R.W.B. Lewis’s, The American Adam: Innocence, Tragedy, and Tradition in the Nineteenth Century. I focus much of my discussion on the applicability of the myth of innocence, rather than the validity of the actual myth throughout history. In this sense, I follow the myth as a cycle of innocence lost and regained in American culture – as an ideal which can never truly reach its conclusion for as long as America is invested in two broad definitions of innocence: the American Adam and the Noble Savage.
    [Show full text]
  • Banned Movies in the Jones Media Center
    Banned Movies in the Jones Media Center : JMC Titles Date Title Country Notes Call Number This film was banned due to its extreme depictions of violence and 1971 A Clockwork Orange Ireland rape. Ban lifted in 2000.[26] DVD 6309 Banned for over 30 years, before an attempt at release was made in 2006. However, the submission for a M18 rating was rejected, and the ban was not lifted.[26] The ban was later lifted, with film was shown uncut with an R21 rating on 28 October 2011, as part 1971-2011 A Clockwork Orange Singapore of the Perspectives Film Festival.[70] DVD 6309 Banned due to depictions of violence and gang rape. Has been 1971 A Clockwork Orange South Korea lifted since.[26] DVD 6309 During President Park Chung-hee's regime, the importation of the 1979 Apocalypse Now South Korea film was on hold because of its anti-war theme.[83] DVD 14527 Banned because of the government's belief that time travel is a dangerous element in fiction and because the actions of Marty 1985 Back to the Future China McFly are highly inappropriate.[9] DVD 7462 1925 Battleship Potemkin France Banned due to fears that it could inspire revolution.[16] DVD 71 1933−1945 Battleship Potemkin Germany Banned due to fears it could inspire Marxism.[16][22] DVD 71 Banned for containing "propaganda of superstitious beliefs, namely FILM.047.01- 1959 Ben-Hur (1959) China Christianity." (Never given permission to screen)[9] JWST.022.01-FA13 Borat: Cultural Learnings of America for Make 2006 Benefit Glorious Nation of Kazakhstan Kazakhstan Banned as "offensive"[44] DVD 4611 Borat: Cultural Learnings of America for Make Banned as "offensive"[44] (possibly because of Russia's close 2006 Benefit Glorious Nation of Kazakhstan Russia relationship with Kazakhstan).
    [Show full text]
  • Confidential 1 Persuasion Vladimir Petit Medina Upcoming Meeting
    persuasion Vladimir Petit Medina Date: 10/05/96 To: Gary Orren From: Vladimir Petit Medina Subject: Written assignment: Top twenty principles and analysis of persuasion _____________________________________________________________________________ • Top Twenty Principles: 1.-Social Conformity (social proof): the correct behavior is the general behavior. A tendency to determine whether an action is appropriate or not, by seeing other people’s actions. It usually works better when there are uncertainty (the absence of the real-corresponding appreciation of a given fact) and similarity (by observing the behavior of people “like us”). I think it is the most effective weapon of persuasion if someone gets to know how to manage it and how to induce it, in order to create an opinion matrix or a landslide. However, the use of this weapon without an adequate scale of values should become dangerous 1 .Finally, urban environments are the best screenplay for this principle. 2.-The Werther’s Effect: It is a tendency to copycat extreme actions, like suicide. Then, the example itself is an incentive to many subsequent and similar actions . For instance, there is a neighborhood in Punto Fijo, Venezuela, where suicides in a row are motivated by an initial and successful one. The pattern (age, cause and mechanism) is copycated by subsequent behaviors and the row stops when an action does not meet the original pattern. The Central University’s School of Psychology has been studying the case for scientific purposes. 3.-The symbols of authority: those by which authority becomes reinforced (dress, titles and trappings) and obedience becomes easier. 4.-Reciprocity: A tendency to make someone feel a correlative obligation by doing him a favor in advance.
    [Show full text]
  • Series 29:6) Luis Buñuel, VIRIDIANA (1961, 90 Min)
    September 30, 2014 (Series 29:6) Luis Buñuel, VIRIDIANA (1961, 90 min) Directed by Luis Buñuel Written by Julio Alejandro, Luis Buñuel, and Benito Pérez Galdós (novel “Halma”) Cinematography by José F. Aguayo Produced by Gustavo Alatriste Music by Gustavo Pittaluga Film Editing by Pedro del Rey Set Decoration by Francisco Canet Silvia Pinal ... Viridiana Francisco Rabal ... Jorge Fernando Rey ... Don Jaime José Calvo ... Don Amalio Margarita Lozano ... Ramona José Manuel Martín ... El Cojo Victoria Zinny ... Lucia Luis Heredia ... Manuel 'El Poca' Joaquín Roa ... Señor Zequiel Lola Gaos ... Enedina María Isbert ... Beggar Teresa Rabal ... Rita Julio Alejandro (writer) (b. 1906 in Huesca, Arágon, Spain—d. 1995 (age 89) in Javea, Valencia, Spain) wrote 84 films and television shows, among them 1984 “Tú eres mi destino” (TV Luis Buñuel (director) Series), 1976 Man on the Bridge, 1974 Bárbara, 1971 Yesenia, (b. Luis Buñuel Portolés, February 22, 1900 in Calanda, Aragon, 1971 El ídolo, 1970 Tristana, 1969 Memories of the Future, Spain—d. July 29, 1983 (age 83) in Mexico City, Distrito 1965 Simon of the Desert, 1962 A Mother's Sin, 1961 Viridiana, Federal, Mexico) directed 34 films, which are 1977 That 1959 Nazarin, 1955 After the Storm, and 1951 Mujeres sin Obscure Object of Desire, 1974 The Phantom of Liberty, 1972 mañana. The Discreet Charm of the Bourgeoisie, 1970 Tristana, 1969 The Milky Way, 1967 Belle de Jour, 1965 Simon of the Desert, 1964 José F. Aguayo (cinematographer) (b. José Fernández Aguayo, Diary of a Chambermaid, 1962 The Exterminating
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 66,1946-1947
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-SIXTH SEASON, 1946-1947 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1946, BY BOSTON SYMPHONY ORCHESTRA, ltlC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot .* President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe Nicholas John Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [577] © © © HOW YOU CAN HAVE A © © Financial "Watch-Dog" © © B © © © B B Webster defines a watch- dog as one kept to watch © and guard." With a Securities Custody Account at © the Shawmut Bank, you in effect put a financial watch- © dog on guard over your investments. And you are re- © lieved of all the bothersome details connected with © © owning stocks or bonds. An Investment Management © Account provides all the services of a Securities Cus- © tody Account and, in addition, you obtain the benefit B the judgment of B of composite investment our Trust B Committee. © Why not get all the facts now, without obligation? © © Call, write or telephone for our booklet: How to be © More Efficient in Handling Your Investments." © © •JeKdimiM \Jwu6t Q/sefi€VKtment © © © The D^ational © © Bank © Shawmut © 40 Water Street^ Boston © Member Federal Deposit Insurance Corporation © Capital $ 10,000,000 Surplus $20,000,000 © © "Outstanding Strength" for no Tears © © © I 578 ] 5? SYMPHONIANA LAURELS IN THE WEST At the beginning of this month the Boston Symphony Orchestra gave ten concerts in cities west of New England.
    [Show full text]
  • MA RCD FERUIP1, F'f Gt'a" PÌ-120 CA, Ccir(I) 1);?-10.(Ja)E{,0 T)E- I
    Ferrario, Davide 624 625 Ferreri, Marco ce off rivelando la sua verginità. Deve in- Bibliografia: Davide Ferrario, in Sopralluoghi e Doni- gnala uno dal terrompere gli studi per fare il servizio civi- meritai-i, Torino Film Festival, 1998; Lorenzo Pelliz, Processo di Kafka, cui pensa già nel cita della regolarizzazione dei rapporti: già le, buona occasione per lasciare la famiglia. zar!, Davide Ferrario, Frammenti aguzzi di un discorso 1959, e che costituisce una sugge- El pisito rivela l'intrigante legame fra pro- amoroso, in '>Cineforum»,2000, n. 391. stione di fondo presente in L'udienza. Pur con qualche concessione allo stile da vi- prietà e relazione coniugale, in La donna Quella di Marco Ferreri è una figura atipi- deoclip, il film funziona grazie all'ottimo scimmia questa diventa addirittura il crisma ca nel panorama del cinema italiano, per gli montaggio, all'inventiva della regia e all'in- che permette il cinico sfruttamento della Ferreri, Marco umori che nutrono i suoi film, per le in- terprete, Valerio Mastandrea, talento comi- donna. La storia di L'ape regina - (Milano, 1928 - Parigi, 1997). Studi regola-. un mari- fluenze, per lo stile fatto di accostamenti to progressivamente s'avvia alla morte per co naturale. Fiume di parole, musica e im- ri a Milano, s'iscrive, senza raggiungere la stranianti e di commistioni insolite. Già i adempiere all'«obbligo coniugale» - mette magini, Tutti giú per terra diverte senza vol- laurea, alla facoltà di Veterinaria. L'inte- primi tre film, girati in Spagna (un contesto in luce il dirottamento dell'istinto sessuale garità né cali di ritmo.
    [Show full text]
  • Hiol 20 11 Fraser.Pdf (340.4Kb Application/Pdf)
    u 11 Urban Difference “on the Move”: Disabling Mobil- ity in the Spanish Film El cochecito (Marco Ferreri, 1960) Benjamin Fraser Introduction Pulling from both disability studies and mobility studies specifically, this ar- ticle offers an interdisciplinary analysis of a cult classic of Spanish cinema. Marco Ferreri’s filmEl cochecito (1960)—based on a novel by Rafael Azcona and still very much an underappreciated film in scholarly circles—depicts the travels of a group of motorized-wheelchair owners throughout urban (and rural) Madrid. From a disability studies perspective, the film’s focus on Don Anselmo, an able-bodied but elderly protagonist who wishes to travel as his paraplegic friend, Don Lucas, does, suggests some familiar tropes that can be explored in light of work by disability theorists.1 From an (urbanized) mobil- ity studies approach, the characters’ movements through the Spanish capital suggest the familiar image of a filmic Madrid of the late dictatorship, a city that was very much culturally and physically “on the move.”2 Though not un- problematic in its nuanced portrayal of the relationships between able-bodied and disabled Madrilenians, El cochecito nonetheless broaches some implicit questions regarding who has a right to the city and also how that right may be exercised (Fraser, “Disability Art”; Lefebvre; Sulmasy). The significance of Ferreri’s film ultimately turns on its ability to “universalize” disability and connect it to the contemporary urban experience in Spain. What makes El cochecito such a complex film—and such a compelling one—is how a nuanced view of (dis)ability is woven together with explicit narratives of urban modernity and implicit narratives of national progress.
    [Show full text]
  • SYNC EVENT the Ethnographic Allegory of Unsere Afrikareise
    SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen Department of Media Studies Master’s Thesis 30 HE credits Cinema Studies Master’s Programme in Cinema Studies Spring 2016 Supervisor: Associate Professor Malin Wahlberg SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen ABSTRACT The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio- vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes as a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film. KEYWORDS Experimental Ethnography, Film Sound, Audio-Vision, Experimental Cinema, Documentary, Ethnographic Film CONTENTS INTRODUCTION 1 Demarcation 6 Survey of the field 7 Background 12 Disposition 15 I.
    [Show full text]
  • Company Profile Fenix Entertainment About Us
    COMPANY PROFILE FENIX ENTERTAINMENT ABOUT US Fenix Entertainment is a production company active also in the music industry, listed on the stock exchange since August 2020, best newcomer in Italy in the AIM-PRO segment of the AIM ITALIA price list managed by Borsa Italiana Spa. Its original, personalized and cutting-edge approach are its defining features. The company was founded towards the end of 2016 by entrepreneurs Riccardo di Pasquale, a former bank and asset manager and Matteo Di Pasquale formerly specializing in HR management and organization in collaboration with prominent film and television actress Roberta Giarrusso. A COMBINATION OF MANY SKILLS AT THE SERVICE OF ONE PASSION. MILESTONE 3 Listed on the stock exchange since 14 Produces the soundtrack of Ferzan Produces the film ‘’Burraco Fatale‘’. August 2020, best newcomer in Italy in Ozpetek's “Napoli Velata” the AIM-PRO segment of the AIM ITALIA price list managed by Borsa Italiana Spa First co-productions Produces the soundtrack "A Fenix Entertainment cinematographic mano disarmata" by Claudio Distribution is born Bonivento Acquisitions of the former Produces the television Produces the film works in the library series 'That’s Amore' “Ostaggi” Costitution Fenix Attend the Cannes Film Festival Co-produces the film ‘’Up & Produces the “DNA” International and the International Venice Film Down – Un Film Normale‘’ film ‘Dietro la product acquisition Festival notte‘’ 2016 2017 2018 2019 2020 “LA LUCIDA FOLLIA DI MARCO FERRERI” “UP&DOWN. UN FILM “NAPOLI VELATA” original “BEST REVELATION” for Fenix Entertainment • David di Donatello for Best Documentary NORMALE” Kineo award soundtrack Pasquale Catalano Anna Magnani Award to the production team • Nastro d’Argento for Best Film about Cinema for Best Social Docu-Film nominated: • David di Donatello for Best Musician • Best Soundtrack Nastri D’Argento “STIAMO TUTTI BENE” by Mirkoeilcane “DIVA!” Nastro D’Argento for the Best “UP&DOWN.
    [Show full text]
  • MARCO FERRERI the Director Who Came from the Future
    MASSIMO VIGLIAR presents a production SURF FILM – ORME – LA7 MARCO FERRERI The director who came from the future a documentary film by MARIO CANALE With the participation of: Rafael Azcona, Nicoletta Braschi, Franco Brocani, Jerry Calà, Sergio Castellitto, Pappi Corsicato, Piera Degli Esposti, Francesca Dellera, Maruschka Detmers, Nicoletta Ercole, Sabrina Ferilli, Andréa Ferréol, Enzo Jannacci, Christopher Lambert, Citto Maselli, Gianni Massaro, Ornella Muti, Philippe Noiret, Esteve Riambau, Ettore Rosboch, Dado Ruspoli, Alfonso Sansone, Giancarlo Santi, Philippe Sarde, Catherine Spaak, Lina Nerli Taviani, Ricky Tognazzi, Mario Vulpiani narrator: Michele Placido Music: Philippe Sarde Non contractual credits TECHNICAL DATA Marco Ferreri, the director who came from the future ITALIA 2007, b/w and colour, 90’ Direction: Mario Canale Story and screenplay: Mario Canale, Annarosa Morri Narrator: Michele Placido Music: Philippe Sarde Editing: Adalberto Gianuario, Alessandro Raso Photography: Maurizio Carta, Massimo Coconi, Paolo Mancini, Marcello Rapezzi, Mario Canale Iconography research: Rosellina d’Errico Executive production: Mario Canale, Elena Francot Archive images: Orme Istituto Luce Aamod – Archivio Audiovisivo del Movimento Operaio e Democratico Fondazione Mario Schifano TVE – A fondo - 1978 Argento puro di Pappi Corsicato Giancarlo Santi : facevo er Cinema di Anton Giulio Mancino Italia Taglia di Tatti Sanguineti Antonioni di Gianfranco Mingozzi Period pictures : Jacqueline Ferreri Reporters Associati Images of the film for kind concession of: Jacqueline Ferreri Surf film: Controsesso, La donna scimmia, La Carne, Diario di un vizio, L’uomo dei 5 palloni, Casanova 70, Il fischio al naso, Cronaca di un amore. Myra Film : La Grande abbuffata, Non toccare la donna bianca, Ciao Maschio, Il seme dell’uomo, El Cochecito, La casa del sorriso, Nitrato d’argento.
    [Show full text]
  • Marco Ferreri Retrospective 1 – 14 December at Ciné Lumière
    press release nov 06 Marco Ferreri Retrospective 1 – 14 December at Ciné lumière About the Retrospective The Italian Cultural Institute and the Institut français, London, in collaboration with Cinecittà Holding are delighted to present a fortnight-long tribute to maverick Italian director Marco Ferreri. The retrospective features a representative selection of 13 films from all four decades of his filmmaking career, and showcases impressive (and surprising) performances from some of European cinema’s finest actors, including Marcello Mastroianni, Roberto Benigni, Gérard Dépardieu, Catherine Deneuve, Philippe Noiret, Michel Piccoli and Ugo Tognazzi. A highlight of the season will be the two screenings of Ferreri’s masterpiece La Grande Bouffe (Blow-Out) on a newly-restored print provided by Cinecittà especially for the occasion. As many of Ferreri’s films received no, or very limited, UK release, this season represents a valuable opportunity for film fans to assess or re-asses the work of one of Italian – and world – cinema’s most singular talents. L’Ape regina (The Queen Bee) • La Donna scimmia (The Ape Woman) • Dillinger è morto (Dillinger is Dead) • L’Udienza (The Audience) • La Cagna (Love to Eternity) • La Grande Bouffe (Blow-Out) • Touche pas à la femme blanche (Don’t Touch the White Woman!) • La Dernière Femme (The Last Woman) • Ciao Maschio (Bye Bye Monkey) • Chiedo asilo (Pipicacadodo) • Storie di ordinaria follia (Tales of Ordinary Madness) • La Carne (The Flesh) • Diario di un vizio (Diary of a Maniac) Venue: Ciné lumière at the Institut français, 17 Queensberry Place, London SW7 2DT Tickets: £7, conc. £5; double bills £9, conc.
    [Show full text]