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CÀPSULES DEL TEMPS. Els Films-Collage D' Arthur Lipsett

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16 de gener de 2014, 20h C ÀPSULES DEL TEMPS. Els films-collage d’ Arthur Lipsett Very Nice, Very Nice, Arthur Lipsett, 1961, vídeo, 6' ● 21-87, A. Lipsett, 1964, 16mm, 9’ ● Perceptual Learning, A. Lipsett, 1965, vídeo, 11’ ● Free Fall, A. Lipsett, 1964, vídeo, 9’ ● A Trip Down Memory Lane, A. Lipsett, 1965, vídeo, 12’ ● Fluxes, A. Lipsett, 1968, 16mm, 23’ ● Lipsett Diaries, Theodore Ushev, 2010, 35mm, 14' ● Un programa de Gonzalo de Lucas a figura d’Arthur Lipsett ocupa un dels marges més En comptes d'això, el tipus de juxtaposició d'imatges i, L originals i apassionants del muntatge i el film freqüentment, de sons i imatges que proposen tenen collage. La seva obra, que va fascinar cineastes tan més en comú amb les relacions arbitràries i la lògica dels diferents com Kubrick, Brakhage o George Lucas, va somnis del surrealisme, amb la ironia iconoclasta del quedar interrompuda pels problemes mentals del dadaisme i amb les conjuncions inconnexes del collage i cineasta i el turment que el va abocar al suïcidi, als 46 el fotomuntatge. anys. Lipsett havia començat realitzant collages sonors, que després va traslladar a les seves peces enigmàtiques i [...] El tipus de manipulació de les imatges que duu a brillants produïdes per el National Film Board de terme s'apropa a la complexitat formal i densitat Canadà: combinacions d’imatges i sons, en films de metafòrica del treball de Conner, mentre que, igual que reciclatge i deconstrucció, assajos visuals irònics i Vanderbeek, empra la banda sonora per reproduir la sarcàstics sobre el consumisme o crítiques dels mass heterogloxia de la vida urbana contemporània i els media, segons ritmes jazzístics o sincopats que van mitjans de masses. Els tres realitzadors destaquen a il·luminar un sentit del cinema i un pensament únic. partir de la grandesa i la inconseqüència, el desastre i la frivolitat, l’heroisme i l’estupidesa que constitueixen la De la compilació al collage: les pel·lícules condició humana al segle vint. d’apropiació d’ Arthur Lipsett, per William C.Wees. A Very Nice, Very Nice (1961) mitjançant la revisió Les pel·lícules de Lipsett van ser “importants” però I radical de la relació entre el so i la imatge, Lipsett fa gairebé no van circular entre els principals represen- que aquesta relació es torni menys estable, més oberta a tants de l'avantguarda americana dels anys seixanta. la interpretació […]. En les seves pel·lícules, la seguretat Això es va deure probablement a la falta de connexió i les certeses donen lloc a dubtes, escepticisme, entre el NFB i els espais d'exhibició i les cooperatives relativisme, expressions d'un rebel individualisme i nord-americanes dedicades al cinema d'avantguarda, desafiaments radicals als valors i costums de la cultura així com a la desconfiança que despertava a Estats Units dominant […]. El seu cinema dissecciona els atributs un artista d'avantguarda que treballava per a una característics de l’“època del malestar” postbèl·lica agència governamental. Entre els cineastes més dominada, d'una banda, pel consumisme, el confor- reconeguts d'aquella escena, els americans Bruce misme i la fe en el “progrés” científic i tecnològic i, per Conner i Stan Vanderbeek eren els que més aspectes una altra, per la geopolítica de la Guerra Freda i tenien en comú amb Lipsett. Tots ells estaven fent films l'amenaça present de l'aniquilació nuclear. de metratge trobat (o “films collage”, com es solia denominar les seves pel·lícules en aquesta època). Les [...] Malgrat que Very Nice, Very Nice no és, estricta- pel·lícules de metratge trobat es componen de material ment parlant, una pel·lícula de metratge trobat, serveix preexistent com, per exemple, descarts, material d'arxiu d'introducció instructiva a les tàctiques de Lipsett de i extractes de pel·lícules ja estrenades. Però, al contrari juxtaposició d'imatges i sons. Exceptuant el metratge que els films de compilació, les pel·lícules de Lipsett no d'arxiu corresponent a una explosió nuclear i al van ser dissenyades per informar, educar o persuadir. En llançament d'un coet espacial, el film està compost de la majoria de casos tampoc tractava d’establir relacions collages de retallables i fotografies obtingudes per coherents entre plans. Lipsett. […] La primera versió de la banda sonora de Very Nice, Encara que està composat primordialment de sons i Very Nice combinava sons que havia agafat de la imatges del passat, el collage de so-imatge del film és, en paperera de descarts del NFB amb alguns gravats per ell si mateix, un exemple del nou tipus de consciència que mateix. Alguns guions conservats del film indiquen que Lipsett considerava com a essencial per entendre i Lipsett va fer algunes revisions del collage original quan actuar responsablement en el present. es va convertir en la banda sonora del film. […] Very Nice, Very Nice ens enfronta a una mescla variada de Per A Trip Down Memory Lane, Lipsett va veus, algunes refinades i professionals, d’altres clara- III organitzar el seu material cronològicament, però ment inexpertes i pertanyents a gent corrent que no està per Fluxes (1968) va triar una estructura més llegint cap guió ni parlant sobre el que apareix en complicada basada en sèries contrastades de sons i pantalla mentre parlen. En lloc d'unificar el comentari, imatges interrelacionades per connotacions semblants i diverses veus s'atropellen les unes a les altres, fent implicacions temàtiques similars. Aquests motius comentaris desconnectats entre ells i freqüentment audiovisuals donen una unitat conceptual subjacent inacabats. L'efecte no és diferent al produït pels malgrat la diversitat d'imatges i la naturalesa fragments juxtaposats de “veus” diverses i discordants fragmentària dels sons i les imatges. És probable que en que T.S.Eliot fa servir a The Waste Land per fer un qualsevol dels moments del film no sigui necessària una comentari semblant sobre la desintegració moral i connexió entre el que veiem i el que sentim; gairebé cap intel·lectual, la superficialitat, el fastig i la desesperació dels materials de Fluxes manté la seva banda de so que va contemplar en la societat occidental durant els original. Ocasionalment, un so pot servir com un anys següents a la Primera Guerra Mundial. Una comentari a una imatge que l’ acompanya o implicar una condició resumida en “…tu només coneixes/un munt relació entre imatges sense connexió […]. d'imatges trencades”. L'evocació d’allò esfereïdor i fantàstic propiciada per la Les pel·lícules de compilació pretenen emprendre banda sonora i el motiu que relaciona ciència ficció i II “un viatge al sender de la memòria” i no fan més desastre, afavoreixen l'enfosquiment de la perspectiva que aprofitar els sons i imatges de temps anteriors per còmica i irònica de la representació visual de la ciència i aconseguir un efecte còmic i/o nostàlgic. A A Trip la tecnologia. Implícitament, també posen en qüestió el Down Memory Lane (1965), no obstant això, la comèdia propòsit i la validesa d'aquests dos pilars de la tendeix a ser fosca i inquietant, i qualsevol oportunitat civilització moderna occidental. Succeeix el mateix amb per la nostàlgia és avortada per les iròniques juxta- l'altre motiu visual més important del film, que es troba posicions de so i imatge. Lipsett va preveure la seva lligat metonímicament a Orient, de la mateixa manera pel·lícula com un equivalent cinematogràfic dels que la ciència i la tecnologia es troben lligades a documents, imatges i objectes que es guarden a les Occident. Per tant, al llarg del film, el misticisme i càpsules de temps, que pretenen proporcionar a les l'espiritual propis d'Orient es confronten a la futures generacions material que mostri com vivia la racionalitat i el materialisme d'Occident i a la seva gent i què es pensava en un temps i espai concret del confiança en el mètode científic i el progrés tecnològic. passat. En algunes notes que va preparar per a en Donald Brittain, el productor del film, Lipsett va […] La fe en la tecnologia, insinua Lipsett, s'ha convertit escriure: “Quines són les forces que han donat forma, i en la religió d'Occident i la seva pel·lícula ofereix l'estan donat, a la nostra consciència; i quins són les evidència dels seus profunds efectes alienants. La nostres noves responsabilitats?”. fantasia i la ciència ficció, amb les seves expressions de profund malestar i paranoia, omplen el buit espiritual Això suggereix que el propòsit del viatge de Lipsett al deixat per una devoció cap al progrés científic i sender de la memòria va ser reunir evidència materialista. audiovisual d'aquelles “forces” i preservar-les en una càpsula de temps cinematogràfica, amb un muntatge Text de William C.Wees, “From Compilation to College: The Found- disjuntiu i al·lusiu que serveixi en certa manera de Footage Films of Arthur Lipsett”, a Canadian Journal of Film Studies / model de la “nova consciència” que necessita la societat Revue Canadienne d’Études Cinématographiques, volum 16, nº2, tardor de 2007 (traduït per Laura Gómez Vaquero i editat a “Piedra, papel y contemporània per reconèixer i acceptar les “noves tijera: el collage en el cine documental”, a Documenta, Madrid, 2009) responsabilitats” que la història li ha imposat. .
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  • Deakin Research Online

    Deakin Research Online

    Deakin Research Online Deakin University’s institutional research repository DDeakin Research Online Research Online This is the published version (version of record) of: De Bruyn, Dirk 2003-09, N-zone / Arthur Lipsett, Senses of cinema, no. 28, pp. 1-3. Available from Deakin Research Online: http://hdl.handle.net/10536/DRO/DU:30012846 Reproduced with kind permission of the copyright owner. Copyright : © Dirk de Bruyn, August 2003 Landscape of Denial: Arthur Lipsett's N-Zone http://archive.sensesofcinema.com/contents/cteq/03/28/n_zone.html contents great directors cteq annotations top tens about us links archive search Dirk de Bruyn has been involved with personal film making as a practitioner, curator and writer in Melbourne and overseas for nearly 30 years. N-Zone (1970 Canada 45 mins) Source: ACMI Collections Prod Co: National Film Board of Canada Prod: Tom Daly Dir: Arthur Lipsett Scr: Arthur Lipsett, Henry Zemel Phot: Arthur Lipsett, Henry Zemel, Paul Leach, Wolf Koenig Ed: Arthur Lipsett I'm just sitting here. - Voiceover from N-Zone Arthur Lipsett's N-Zone is the longest, loosest and last of the collage films he produced at Canada's National Film Board (NFB). It marks the end-point of his trajectory from feted young genius to discarded problem child/eccentric within the NFB. Lipsett's N-Zone begs comparison as poor cousin to Chris Marker's Zone in Sans Soleil (1982) and Tarkovsky's in Stalker (1979). Lipsett's first film Very Nice, Very Nice (1961) had been a finalist in the short fiction film section of the 1961 Academy Awards.