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Descarregar Número En VOLUM II · Nº 4 · 2014 Editor: Gonzalo de Lucas (Universitat Pompeu Fabra). Editors adjunts (Associate Editor): Núria Bou (Universitat Pompeu Fabra), Xavier Pérez (Universitat Pompeu Fabra). Co-editor convidat del quart número (Fourth Issue Guest Co-Editor): Fernando Ganzo (Universidad del País Vasco). Comitè científic (Advisory Board): Dudley Andrew (Yale University, Estats Units), Jordi Balló (Universitat Pompeu Fabra, Espanya), Raymond Bellour (Université Sorbonne-Paris III, França), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, França), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irlanda), Thomas Elsaesser (University of Amsterdam, Països Baixos), Gino Frezza (Università de Salerno, Itàlia), Chris Fujiwara (Edinburgh International Film Festival, Regne Unit), Jane Gaines (Columbia University, Estats Units), Haden Guest (Harvard University, Estats Units), Tom Gunning (University of Chicago, Estats Units), John MacKay (Yale University, Estats Units), Adrian Martin (Monash University, Austràlia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Meaghan Morris (University of Sidney, Austràlia i Lignan University, Hong Kong), Gilberto Perez (Sarah Lawrence College, Estats Units), Àngel Quintana (Universitat de Girona, Espanya), Joan Ramon Resina (Stanford University, Estats Units), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Yuri Tsivian (University of Chicago, Estats Units), Vicente Sánchez Biosca (Universitat de València, Espanya), Jenaro Talens (Université de Genève, Suïssa i Universitat de València, Espanya), Michael Witt (Roehampton University, Regne Unit). Comitè de redacció (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). Editors assistents (Editorial Assistants): Margarida Carnicé (Universitat Pompeu Fabra), Albert Elduque (Universitat Pompeu Fabra), Endika Rey (Universitat Pompeu Fabra), Marta Verheyen (Universitat Pompeu Fabra). Col·laboradors (Contributors): Manny Farber, Patricia Patterson, José Luis Guarner, Jim Hoberman, Robert Walsh, Robert Polito, Patrice Rollet, Albert Serra, Murielle Joudet, Carolina Sourdis, Andrew Dickos, Clara Roquet. Traductors (Translators): Albert Elduque, Marga Carnicé, Alejandra Rosenberg, Carolina Sourdis, Marta Verheyen. Disseny i maquetació (Original design and layout): Pau Masaló. Agraïments (Special Thanks):Robert Walsh, Patricia Patterson, Robert Polito, Kent Jones, Patrice Rollet, Jim Hoberman, Donald Phelps, Manuel Yáñez, Pierre Eugène, Marcos Uzal, Alexandra Jordana. Gestor (Manager): Aitor Martos. Edició (Publisher): Col·lectiu d’Investigació Estètica dels Mitjans Audiovisuals (CINEMA), Universitat Pompeu Fabra (UPF). Aquest número s’ha finançat amb l’ajuda econòmica del Ministeri d’Economia i Competitivitat, a través del projecte OCEC (Observatori del Cinema Europeu Contemporani), amb número de referència HAR2009-11786. Lloc d’edició (Place of publication): Universitat Pompeu Fabra. Departament de Comunicació. Campus de la Comunicació – Poblenou. Roc Boronat, 138 08018, Barcelona (Espanya). Adreça electrònica (E-mail): [email protected]. Pàgina Web (Website): www.upf.edu/comparativecinema Cinema Comparat/ive Cinema, Volum 2, Nº 4, «Manny Farber: sistemes de moviment», Barcelona, 2014. Dipòsit Legal: B.29702-2012. ISSN: 2014-8933. Alguns drets reservats. Publicat per la Universitat Pompeu Fabra i l’Observatori del Cinema Europeu Contemporani sota llicència Creative Commons (Reconeixement – NoComercial – Compartirigual 3.0 Unported). Imatge de portada: Domestic Movies (Manny Farber, 1985). Presentació Cinema Comparat/ive Cinema és una publicació Cinema Comparat/ive Cinema is a biannual semestral fundada a Barcelona l’any 2012. Editada publication founded in 2012. It is edited by Colectivo pel Col·lectiu d’Investigació Estètica dels Mitjans de Investigación Estética de los Medios Audiovisuales Audiovisuals (CINEMA) de la Universitat Pompeu (CINEMA) at the Universitat Pompeu Fabra Fabra (UPF), la revista està especialitzada en l’estudi (UPF), and focuses on comparative cinema and the del cinema comparat i la recepció i la interpretació reception and interpretation of film in different social cinematogràfica en els diferents contextos socials and political contexts. Each issue investigates the i polítics. Per tant, els articles de cada número conceptual and formal relationships between films, investiguen les relacions conceptuals i formals entre material processes and production and exhibition pel·lícules, i entre els films, els processos materials i les practices, the history of ideas and film criticism. pràctiques de producció i d’exhibició, o la història de les idees i de la crítica cinematogràfica. Cinema Comparat/ive Cinema addresses an original area of research, developing a series of Cinema Comparat/ive Cinema es proposa cobrir methodologies for a comparative study of cinema. una àrea original de recerca, desenvolupant i establint With this aim, it also explores the relationship between una sèrie de metodologies d’estudi comparatiu del cinema and comparative literature as well as other cinema. Amb aquest fi, també s’explora la relació entre contemporary arts such as painting, photography, el cinema i les tradicions de la literatura comparada, music or dance, and audio-visual media. o amb altres arts contemporanis com la pintura, la fotografia, la música i la dansa i els mitjans de Cinema Comparat/ive Cinema is published in comunicació audiovisual. three languages: Catalan, Spanish and English. The journal is biannual and the numbers are published Cinema Comparat/ive Cinema s’edita en tres in summer and winter. At least half of the articles versions: català, castellà i anglès. La revista és semestral included in the journal are original texts, of which i els números es publiquen a l’estiu i a l’hivern. Els at least 50% are written by authors external to the articles publicats seran originals en un percentatge publishing organisation. The journal is peer-reviewed no menor del 50%, i almenys el 50% dels textos and uses internal and external evaluation committees. editats procedirà d’autors externs a l’entitat editora. La publicació empra controls interns i avaluadors Finally, each issue of the journal is complemented externs en el seu sistema d’arbitratge de parells cecs by documentary materials and texts published online, (peer review). which facilitate and enrich the topics studied in each volume, thus establishing links between longer Finalment, i de forma complementària a cada research projects and monographic focuses throughout número, al web de la revista també es publicaran this process. materials documentals i textos que facilitin i enriqueixin l’estudi dels temes abordats a cada volum, establint vincles entre els projectes de recerca i els temes monogràfics al llarg del seu procés. Sumari Editorial per Gonzalo de Lucas / 7 FILMS EN DISCUSSIÓ. ENTREVISTES La llei del quadre per Jean-Pierre Gorin i Kent Jones / 9 DOCUMENTS. 4 ARTICLES DE FARBER El Gimp per Manny Farber / 23 Les pel·lícules de Ozu per Manny Farber / 31 Rainer Werner Fassbinder per Manny Farber i Patricia Patterson / 33 Agee, més a prop de tu, el meu vell amic (1965) per Manny Farber / 39 DOCUMENTS. INTRODUCCIONS A L’OBRA DE MANNY FARBER Presentació d’‘Arte Termita contra Arte Elefante Blanco y otros escritos sobre cine’ per José Luis Guarner / 42 El tèrmit l’encerta. La crítica subterrània de Manny Farber per Jim Hoberman / 44 Prefaci a ‘Espai Negatiu’ per Robert Walsh / 48 Altres carreteres, altres vies per Robert Polito / 52 L’espai fílmic segons Farber per Patrice Rollet / 69 ARTICLES Híbrid: les nostres vides junts per Robert Walsh / 74 La dramatúrgia de la presència per Albert Serra / 93 El mentider amable. Algunes qüestions sobre la crítica de cinema a partir del cas Farber/Agee/Schefer per Murielle Joudet / 97 Els tèrmits de Farber: la imatge sobre els límits de la tècnica per Carolina Sourdis / 101 Crispetes i Godard: la crítica cinematogràfica de Manny Farber per Andrew Dickos / 107 RESSENYES Coral Cruz. Imágenes narradas. Cómo hacer visible lo invisible en un guión de cine per Clara Roquet / 112 EDITORIAL · Cinema Comparat/ive Cinema · Vol. II · Núm 4. · 2014 · 7-8 Manny Farber: sistemes de moviment Gonzalo de Lucas Per a José Luis Guarner, 1937-1993 Sempre m’he considerat un individu polític perquè presento sense parar un programa contra o a favor d’alguna cosa. Manny Farber (FARBER, 1998: 354) Les idees crítiques no són encerts del judici “escriptura del moviment” digués alguna cosa que ni concerneixen al bon gust. La inclinació fes palpitar els cors i ajudés a la raó a penetrar en principal i fins i tot única de molts crítics de la impossibilitat del Temps» (GARCÍA CALVO, cinema, malgrat això, és procurar quedar bé en 1995: 105). l’exposició del seu gust, d’aquí la previsibilitat o redundància entre textos. En la lectura de Farber observem que, de la mateixa manera que Bresson oposava el seu Les idees de Farber sorgeixen de la visió Cinematògraf al Cinema, la seva escriptura i moviment entre llenguatge i imatge, allí on posseïa una altra matèria a la de la crítica, era un es reflecteixen les contradiccions artístiques altre ofici. Els articles de Farber són processos i també les contradiccions de les valoracions creatius, igual que les seves pintures: alguna cosa provisionals que ens fem sobre elles: l’ull com que troba aquí,
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