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Cahiers Du Cinéma, Through a Programme in the Cinémathèque Française KDAJB:>C°&'%&' EGD<G6BB>C<$BDCI6<: Editor: Gonzalo de Lucas (Universitat Pompeu Fabra) Associate Editor: Núria Bou (Universitat Pompeu Fabra), Xavier Pérez (Universitat Pompeu Fabra) Advisory Board: Dudley Andrew (Yale University, USA), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, USA), Haden Guest (Harvard University, USA), Tom Gunning (University of Chicago, USA), John MacKay (Yale University, USA), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Gilberto Perez (Sarah Lawrence College, USA), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, USA), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Yuri Tsivian (University of Chicago, USA), Vicente Sánchez Biosca (Universitat de València, Spain), Jenaro Talens (Université de Genève, Switzerland and Universitat de València, Spain), Michael Witt (Roehampton University, United Kingdom). Editorial Team: Francisco Javier Benavente (Universitat Pompeu Fabra), Alejandro Montiel (Universitat de València), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Glòria Salvadó (Universitat Pompeu Fabra). Executive Issue Editor: Francisco Algarín Navarro (Universitat Pompeu Fabra). Associate Editor: Núria Aidelman (Universitat Pompeu Fabra), Albert Elduque (Universitat Pompeu Fabra), Endika Rey (Universitat Pompeu Fabra), Helena Vilalta (Universitat Pompeu Fabra). Contributors: Celeste Araújo, Álvaro Arroba, Jean Douchet, Fernando Ganzo, Miguel García, Pablo García Canga, Carlos Muguiro, David Phelps, Quintín, Antonio Rodrigues, Jonathan Rosenbaum, Emilie Vergé. Translators: Francisco Algarín Navarro, Álvaro Arroba, Albert Elduque, Fernando Ganzo, Endika Rey, Helena Vilalta. Original design and layout: Pau Masaló. Special Thanks: Álvaro Arroba, Nicole Brenez, Bernard Eisenschitz, Fernando Ganzo, Miguel García, Danièle Hibon, Alexander Horwath, Ken Jacobs, Alexandra Jordana, Pierre Léon, Cloe Massota, Ricardo Matos Cabo, María Merino, Carlos Muguiro, Olaf Möller, Jean Narboni, Jackie Raynal, Antonio Rodrigues, Federico Rossin, Marta Verheyen, Marina Vinyes. Manager: Aitor Martos. Publisher: Colectivo de Investigación Estética de los Medios Audivisuales (CINEMA), Universitat Pompeu Fabra (UPF). This issue has been funded with the economic support of the Ministerio de Economía y Competitividad, through OCEC Project (Observatory on Contemporary European Cinema), with reference number HAR2009-11786. Place of publication: Universitat Pompeu Fabra. Departamento de Comunicación. Campus de la Comunicación - Poblenou Roc Boronat, 138 08018, Barcelona (Spain). E-mail: [email protected]. Website: www.upf.edu/comparativecinema Cinema Comparat/ive Cinema, Volume 1, Nº 1, «Programming/Montage», Barcelona, 2012. Legal Deposit: B.29702-2012. ISSN: 2014-8933. Some rights are reserved. Published by Universitat Pompeu Fabra and the Observatory of European Contemporary Cinema under a Creative Commons License (Attribution – NonCommercial – ShareAlike 3.0 Unported). Cover image: As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (Jonas Mekas, 2000). Introduction Cinema Comparat/ive Cinema is a biannual publication founded in 2012. It is edited by Colectivo de Investigación Estética de los Medios Audiovisuales (CINEMA) at the Universitat Pompeu Fabra (UPF), and focuses on comparative cinema and the reception and interpretation of film in different social and political contexts. Each issue investigates the conceptual and formal relationships between films, material processes and production and exhibition practices, the history of ideas and film criticism. Cinema Comparat/ive Cinema addresses an original area of research, developing a series of methodologies for a comparative study of cinema. With this aim, it also explores the relationship between cinema and comparative literature as well as other contemporary arts such as painting, photography, music or dance, and audio-visual media. Cinema Comparat/ive Cinema is published in three languages: Catalan, Spanish and English. The issues come out in June and December. At least half of the articles included in the journal are original texts, of which at least 50% are written by authors external to the publishing organisation. The journal is peer-reviewed and uses internal and external evaluation committees. Finally, each issue of the journal is complemented by documentary materials and texts published online, which facilitate and enrich the topics studied in each volume, thus establishing links between longer research projects and monographic focuses throughout this process. Summary Editorial by Gonzalo de Lucas / 7 DOCUMENTS The Cinémathèques and the History of Cinema by Jean-Luc Godard / 9 On a Screening of Ozu by Henri Langlois / 11 FILMS UNDER disCUSSION. INTERVIEWS Interview with Alexander Horwath: On Programming and Comparative Cinema [in collaboration with Olaf Möller] by Álvaro Arroba / 12 History of a Journal: Cahiers du Cinéma, through a programme in the Cinémathèque Française. 1981. Interview with Jean Narboni by Fernando Ganzo / 32 ARTICLES Godard’s Science by Jean Douchet / 46 Russian Film Archives and Roy Batty’s Syndrome: On Three Programming Criteria for ‘Ver sin Vertov’ by Carlos Muguiro / 50 Discrete Monuments of an Infinite Film: On Ricardo Matos Cato’s Programmes by Celeste Araújo / 55 Reflections on‘Rivette in Context’ by Jonathan Rosenbaum / 61 ‘Le Trafic du cinéma’: On the Relationship between Criticism and Collective Programming Through a Publication; the Case of Trafic and the Jeu de Paume by Fernando Ganzo / 66 Memories of a Retired Programmer by Quintín / 75 Transmission at the Cinémathèques by Antonio Rodrigues / 81 14/09/1968, a Programme by Henri Langlois by Pablo García Canga / 86 ‘Jeune, Dure et Pure ! Une histoire du cinéma d’avant-garde et expérimental en France’. Programming as a Montage of Films and Thinking about Film: a Gaie Audiovisual Science by Emilie Vergé / 94 Interview with Federico Rossin on the Retrospective ‘United We Stand, Divided We Fall’. A Brief History of Radical Film Collectives from the 1960s to de 80s by David Phelps / 100 REVIEWS Nathaniel Dorsky. Devotional Cinema by Miguel García / 108 EDITORIAL · Cinema Comparat/ive Cinema · Vol. I · No. 1. · 2012 · 7-8 Editorial Gonzalo de Lucas When thinking about the possibilities of with an essayistic perspective, if you will: they are comparative cinema, it may be worth stopping interested in the associations and comparisons on the word ‘comparison’ before thinking about that may emerge, often unexpectedly, between ‘cinema’. If a peasant is able to foresee the storm different films, as in a test of sorts where one looks only by looking at the bark of a tree, and if an through the microscope expecting something to Eskimo can name three hundred different shades become visible. of white, what can film spectators see in the expression of the filmed eyes? After seeing so We have addressed this question in two many close shots, do we learn to compare and different ways: some of the articles in this issue recognise in a face what we couldn’t have seen study the work of certain film curators – such before? Do we acquire, through cinema – and as Nicole Brenez, Alexander Horwath, Carlos through the camera’s function as both a telescope Muguiro, Ricardo Matos Cabo or Federico and a microscope, as Vertov would have it – a plus Rossin – which establishes formal links within of sensibility that enables us to see an emotion a certain period or historical question – such as in disguise? If it wasn’t this way, cinema would Russian cinema post-Vertov, French avant-garde only be a decorative medium, but never a form cinema or collective cinema; while other articles of thought, or a way to connect distant images, examine the way certain journals have made to bring together the images of cinema and the visible their politics and their elective affinities images of the world. via film programmes, thus moving from text to image. We have decided to use as a conceptual Comparative cinema would then consist in basis for this issue a conference given by Jean- tracing that connection, those secret threads that Luc Godard at the Cinémathèque Suisse in 1979, connect cinematic images and project them onto where he discussed preliminary ideas that would the images of our own lives; for instance, the way later materialise in Histoire(s) du cinéma (Jean-Luc cinema enables us to see and think about politics Godard, 1988–98). and love. Digital tools have enabled us to work with In this first issue we wanted to take as a point images, films and sounds extracted from cinema of departure the experience of the spectator using one and the same tool as for writing – and of the projection, after Langlois’s ideas on the computer. Furthermore, the digital archive programming as a germ or possible form of is increasingly varied (no one fairly used to montage. Our first interpretation of a film is navigating through the internet will be surprised marked by the space and context
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