DOCSLIB.ORG

The Movement Image the Movement Image Is a New Project to Encour- Age and Share New Works of Writing About Film

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Movement Image the Movement Image Is a New Project to Encour- Age and Share New Works of Writing About Film The Movement Image The Movement Image is a new project to encour- age and share new works of writing about film. Last year the two of us started a home-viewing film night, and this issue’s contributors were par- ticipants (with the exception of the three-thou- sand-miles-away Thom Donovan). An emergent theme of our film night selections was cinema as a vehicle for the repositioning of myths and of the reverse, myth as a vehicle for revolutions in cin- ema. Some used myth as a sort of prism of he- roic time for the ongoing ground of contempora- neous political and social struggles (Electra My Love), others used myth in ironic or exaggerated ways (Parajanov, Funeral Parade of Roses), and still others seemed to use myth to reveal without commentary the ancient in the present (Yeelen, EDITOR’S Dekalog). So, this issue foregrounds writings on films that NOTE use myth, the myths of film itself and of film-mak- ing, myth-making and the unmaking of both. Jamie Townsend writes about the perils of fame and my- thologization of tortured celebrity. Thom Donovan VOLUME kneads nuances of Midsommar and deathless cin- ema screams. Katy Burnett takes on Once Upon A Time in Hollywood, Tarantino’s retelling of the ONE Tate murders, a Hollywood myth which is mostly a truth, and which Tarantino’s film revises. Paul ex- amines Kieslowski’s Dekalog cycle, nominally in- spired by the Ten Commandments but which, over MYTHS ten hours, never names or even remotely alludes to them. Grant writes about Bela Tarr’s The Turin Horse, which mythologizes the man who caused Nietzsche’s mental collapse. We look forward to more adventures in film writ- ing and conversation, in homage to the still-new, still-strange, grand mass camaraderie of cinema. If you’re interested in contributing to an upcoming issue, email us at [email protected]. Watch! Cover image from Miklós Jancsó’s Electra, My Love Paul and Grant Interior collage from Toshio Matsumoto’s Funeral Parade of Roses 2 3 CONTENTS from BIG STAR 6 By Jamie Townsend At Whose Expense Are You Held? 14 By Thom Donovan Death and The Maiden 1969 20 By Katy Burnett Parergon on Dekalog 26 By Paul Ebenkamp Don’t Be a Body: Nietzsche’s Eternal Recurrence and The Turin Horse 36 By Grant Kerber Questions? Comments? Interested in contributing? Email [email protected] From Derek Jarman’s The Angelic Conversation 4 5 from BIG STAR By Jamie Townsend -Sextile Sun - Moon: They have lots of vitality. They like public life, are popular and their company is appreciated. They are balanced, at ease with themselves and usually get on very well with their parents. It’s June 15th, 1959 and Jayne is on the set of Too Hot to Handle getting ready to perform the film’s titular song-and-dance number. There’s something palpable in the air, a slightly dimmed light or chill that precedes the scene of a disaster. At any moment something could go horribly wrong. It’s almost five years into her career Jayne’s star is quickly fading. Overexposure coupled with an almost constant stream of tabloid gossip has reduced the vivacious blonde bombshell persona she pioneered in the mid 50s to mere parody. Recently eclipsed by Marilyn as America’s voluptuous yet vulnerable sexpot in a time where squeaky clean family values were de rigor, at the end of the decade Jayne finds herself in a world more weary, troubled, performing to an audience largely bored with schoolboy titillation. Filming in London with early James Bond impresario Terence Young, Jayne is hoping to recapture some of her early magnetism. 6 7 Buttressed by two men in white tuxedos, Janye love interests—a noble Grecian Queen, and the sciousness by an al- rises in front of the velvet curtain. Her unmis- treacherous leader of the Amazons—unknow- ternate route’ ‘The result is a portrait takable hourglass figure further emphasized by ingly pregnant with the couple’s third child. without a face’ a sheer nylon dress appliquéd with strategical- *** ly placed spangles, she coolly smokes a ciga- ‘A road movie sense of *** rette held in a slender ivory holder and sways -23 Square Saturn - Uranus: looseness gave him an ‘In a curious coda he as the title song commences. Under the threat They do not like routine, whether at work or in opportunity to express shows Blake’s ghostly of suspension by 20th Century Fox for flagging their emotional lives. They fight to keep their in- himself like never be- image leaving his body box office numbers in the states and tempo- dependence and freedom of action. They would fore’ and ascending, not by rarily on loan to Britain’s Wigmore Productions, gladly re-make the world. floating up to heaven, Jayne throws herself into the scene’s flirtatious ‘His close identifica- but by climbing – using choreography with an impassioned though ‘It’s the script that leaves Phoenix in a state of tion with troubled out- the frames of a win- slightly robotic vigor. Within two years she will constant vulnerability’ siders dow as a ladder’ be released from her US contract in full. ‘The shifts in narrative aren’t…conventional’ his feel for both litera- In a breathy, slightly inflected British accent ture and the poetry of -Mercury in Capricorn: Janye works the room with ease; her cote- ‘The idiosyncratic stylization…seamlessly inte- the streets Their minds compart- rie of smitten dinner-jacketed backup singers grated with classic tragedy; it’s ambitious, but mentalize impres- sporadically employed as props, backdrops, or he pulls it off’ the way he uses shots sions. They appre- furniture; she navigates the club effortlessly, of lonely highways, ciate structure and assured of their constant presence, attention *** condemned buildings, order. Resourceful, and motility. It’s undeniable; all eyes are on her. landscapes, and natu- reflective, deep think- A single mirrored ball languorously swings, ro- ‘It’s brave of Van Sant ral phenomena to sug- ers. They undertake tating above the tiny stage in the back of the gest the inner lives of lengthy studies or, if club, as she pivots to allow his characters his characters -- all circumstances do not against an ornate pole to simply wander off, these gifts are on full allow, they will teach stage right then de- in the words of John display.’ themselves. Rational, scends to mingle with Webster, “to study the though can be pessimistic, skeptical, and sar- an audience a little long silence”’ ‘He’s essentially making a human comedy, il- castic. Possessing very sharp senses of humor. hot under the collar. luminated by the insight that all experience is Notice everything. Her performance con- ‘That is to say, he’s potentially ridiculous’ cludes yet an afterim- easier on his charac- It’s June 15, 1429 and Joan, dressed in a thin tu- age hangs in the air, ters here, more openly ‘The Shakespearean conceit here is a tricky one nic, hosen, boots and coif mail armor, is swift- a thick faceless vapor affectionate, perhaps but he goes all the way with it’ ly making her way to Chinon. Upon arrival, she undulating to the fad- even sentimental. The petitions the head of the company to fight En- ing notes of hot jazz. style is pillowy and ca- *** glish and Burgundy troops under the banner ressing, silvery mist of France. News of her ecstatic vision of the Before the film is re- hovering over a black ‘Van Sant has made three movies in which the French victory at the Battle of Herrings had leased in December lake. camera follows young men as they wander to already reached the encampment and, though of the following year their deaths’ she had been denied a similar request the pre- Jayne will fly to Italy ‘Gorgeous time lapse vious year, is immediately granted admittance with her bodybuild- shots of nature gath- ‘These deaths are not heroic or meaningful, and to join the Armée de Terre by the capitaine col- er husband Mickey ering its forces, or although they may be tragic they lack the stat- onel. After serving under the Duke of Alençon Hargitay to co-star in dreams of his mother ure of classic tragedy. as standard-bearer in several successful cam- the B-movie flop The collapsing into a vi- paigns, Joan is raised to the status of nobility Loves of Hercules. sion of home, dropping They are stupid and careless. by King Charles before being captured by Bur- With Mickey in the ti- from the sky’ gundian troops and held prisoner in England. tle role, Janye por- If Van Sant is saying anything (and I’m not sure King Charles threatened vengeance for Joan’s trays both of Hercu- The images seem to that he is), it’s that society has created young imprisonment by exacting violence on English les’s broadly painted slip into your con- men who do not live as if they value life’ women captured by the armies of France. But 8 9 nothing could stop a fire inside es showcased to great effect now burning across Europe. on the chart-topping hit “Back and Forth” Aaliyah is quickly No Golden Rose and widely praised as one of the most original, influential It’s June 15, 1928 and a crowd new voices in urban pop. Age is slowly filing through the exit Ain’t Nothing’s co-writer and of Paris’s Cinema Marivaux. producer R. Kelly had become Carl Theodor Dreyer’s The Aaliyah’s mentor and confi- Passion of Joan of Arc has dant during the process of re- just made its long delayed de- cording the album and the two but in France.
Load more

Recommended publications
  • CRITICAL THEORY and AUTHORITARIAN POPULISM Critical Theory and Authoritarian Populism
    CDSMS EDITED BY JEREMIAH MORELOCK CRITICAL THEORY AND AUTHORITARIAN POPULISM Critical Theory and Authoritarian Populism edited by Jeremiah Morelock Critical, Digital and Social Media Studies Series Editor: Christian Fuchs The peer-reviewed book series edited by Christian Fuchs publishes books that critically study the role of the internet and digital and social media in society. Titles analyse how power structures, digital capitalism, ideology and social struggles shape and are shaped by digital and social media. They use and develop critical theory discussing the political relevance and implications of studied topics. The series is a theoretical forum for in- ternet and social media research for books using methods and theories that challenge digital positivism; it also seeks to explore digital media ethics grounded in critical social theories and philosophy. Editorial Board Thomas Allmer, Mark Andrejevic, Miriyam Aouragh, Charles Brown, Eran Fisher, Peter Goodwin, Jonathan Hardy, Kylie Jarrett, Anastasia Kavada, Maria Michalis, Stefania Milan, Vincent Mosco, Jack Qiu, Jernej Amon Prodnik, Marisol Sandoval, Se- bastian Sevignani, Pieter Verdegem Published Critical Theory of Communication: New Readings of Lukács, Adorno, Marcuse, Honneth and Habermas in the Age of the Internet Christian Fuchs https://doi.org/10.16997/book1 Knowledge in the Age of Digital Capitalism: An Introduction to Cognitive Materialism Mariano Zukerfeld https://doi.org/10.16997/book3 Politicizing Digital Space: Theory, the Internet, and Renewing Democracy Trevor Garrison Smith https://doi.org/10.16997/book5 Capital, State, Empire: The New American Way of Digital Warfare Scott Timcke https://doi.org/10.16997/book6 The Spectacle 2.0: Reading Debord in the Context of Digital Capitalism Edited by Marco Briziarelli and Emiliana Armano https://doi.org/10.16997/book11 The Big Data Agenda: Data Ethics and Critical Data Studies Annika Richterich https://doi.org/10.16997/book14 Social Capital Online: Alienation and Accumulation Kane X.
    [Show full text]
  • HP102 Cover.3.2.Indd
    BP Solar– setting the standard for quality and performance. the natural source for electricity.® Recognized as an industry leader for over 30 years, BP Solar produces premium panels guaranteed to provide years of superior performance. But a system is only as good as the dealer who installs it. BP Solar’s precision engineering, record field reliability and expansive product line is complemented by the best distribution network in the business. To start building a brighter tomorrow today, contact the BP Solar dealer nearest you. For more information, visit our website: www.bpsolar.com/homesolutions To learn more about our dealer programs visit www.bpsolar.com/joinus www.usbattery.com Say Hello To Your New Business Partner. RECYCLED PPOWER We’d like to go into business with you. The SMA Solar Pro Club is simple to join, with no dues, no fees, and plenty of support. Just We’re SMA America, a solar technology company become an SMA trained Solar Pro, and you’ll based in Grass Valley, California. Our parent receive: company was founded in Germany in 1981. We • Lead referrals manufacture Sunny Boy solar inverters, from 700 • Co-op advertising support to 2500 watts; a 125,000 watt central inverter for • Technical support priority large commercial solar plants; and a new battery • Ongoing training opportunities inverter for the off-grid and backup power markets, • Early access to new products along with all the accessories. Our German engineering and American know-how mean we Customers considering Sunny Boy solar produce the most efficient, longest-lasting, most powered systems and seeking the best in the trouble-free system on the market today.
    [Show full text]
  • Rooted in Rhetoric Volume 5
    Table of Contents Foreword 4 Introduction 6 Reading Response Georgia DeFehr (Counter)Archiving Atrocity Through Comics Journalism: A Response to Hillary L. Chute’s “History and the Visible in Joe Sacco” 7 Textual Analysis Autumn Sfatcos Shadowed Truth: An Ideological Analysis of the White Saviour Complex in The Help 13 Elaine Ries The Environment, the Economy, and the Consequences of the Alberta Tar Sands 25 Giordana Curatolo Critiquing Representations of Postpartum Depression in the Media: A Case Study 33 Sharee Hochman Sandy Hook Promise OrganiZation’s Back to School Advertisement: How the American Identity Limits Moral Indignation 39 Critique Maddalena Nowosad Disrupting Hegemony: Carnivalesque and Feminist Practices at The Edge Skatepark 48 1 Rachel Ferstl A Metaphoric Critique on Michael Arad and Peter Walker’s 9/11 Memorial: Reflecting Absence 65 Manifesto Valerie Nyamori The Red Wave Manifesto Proposal 77 Research Essay Cassidy Rempel #Clean, Healthy, Perfect: The Image-Text Relationship of Orthorexia-Triggering Content on Instagram 80 Jocelyn Shymko The Powerful Presence of Plants- FertiliZing the Mind with Mental Enhancement 92 Jocelyn Shymko Politics on Thin Ice 99 Leia Patterson The IdealiZation of Virtue: A Generic Description of Canadian War Memorials 107 Lily O’Donnel Bedroom Pop: How Algorithms Created a Genre 116 Thomas Dickson Wendy and Lucy: Between Neorealism and Slow Cinema 120 2 Personal Narrative Rebecca Michaella Daylo A Story of Relocating to Another Country 134 Ziyin Wang Crossing Racial and Cultural Lines with Sincerity 138 Princess Tecson Mandap The Flower that Bloomed in my House 141 3 Foreword It is 2020. Many of us have found ourselves in a moment of complete pause.
    [Show full text]
  • 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]
  • Metaphysics and the Moving Image Trevor Mowchun a Thesis in The
    Metaphysics and the Moving Image Trevor Mowchun A Thesis In the Humanities Program For the Degree of Doctor of Philosophy (Humanities (Fine Arts)) at Concordia University July 2018 © Trevor Mowchun, 2018 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Trevor Mowchun Entitled: Metaphysics and the Moving Image and submitted in partial fulfillment of the requirements for the degree of Doctor Of Philosophy (Humanities (Fine Arts)) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Kristina Huneault External Examiner Dr. George Toles External to Program Dr. Nathan Brown Examiner Dr. Andre Furlani Examiner Dr. Justin E. H. Smith Thesis Supervisor Dr. Martin Lefebvre Approved by Dr. Erin Manning, Graduate Program Director December 10, 2018 Dr. Rebecca Taylor Duclos, Dean Faculty of Fine Arts iii ABSTRACT Metaphysics and the moving image Trevor Mowchun, Ph.D. Concordia University, 2018 The various forms of cross-pollination and encounter between film and philosophy have generated thought experiments which make it possible to think beyond what the two fields can do for each other to what they can do together. My guiding intuition in this thesis is that the distinct historical evolutions of film and philosophy intersect in the speculative domain of the Western metaphysical paradigm, as the film medium technologically and aesthetically reestablishes conditions for “truth” within
    [Show full text]
  • Reclaiming the Image Béla Tarr's World of 'Inhuman' Becoming: an Artistic and Philosophical Inquiry
    WestminsterResearch http://www.westminster.ac.uk/research/westminsterresearch Reclaiming the image Béla Tarr's world of 'inhuman' becoming: an artistic and philosophical inquiry Elzbieta Buslowska School of Media, Arts and Design This is an electronic version of a PhD thesis awarded by the University of Westminster. © The Author, 2012. This is an exact reproduction of the paper copy held by the University of Westminster library. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Users are permitted to download and/or print one copy for non-commercial private study or research. Further distribution and any use of material from within this archive for profit-making enterprises or for commercial gain is strictly forbidden. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: (http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] RECLAIMING THE IMAGE. Béla Tarr's World of 'Inhuman' Becoming: An Artistic and Philosophical Inquiry ELZBIETA BUSLOWSKA Béla Tarr, Sátántangó (1994), 419min A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy May 2012 abstract: The thesis entitled 'Reclaiming the Image' is an artistic and philosophical enquiry. It aims at a radical re-thinking of the concept of the image outside the accepted notions of realism and representation by opening up the photographic real in the process of bringing together photography and cinema, stillness and movement, life and art, aesthetics and politics.
    [Show full text]
  • CHIFFRES ET NOMBRES GDES PTES LGS 11 Réalisateurs
    CHIFFRES ET NOMBRES GDES PTES LGS 11 réalisateurs September 11 u 2 3 ABADI Sou Cherchez la femme 2 2 ABBASS Hiam Héritage (Inheritance) 2 3 ABEL Dominique Rumba 2 ABEL Dominique Fée (La) 1 ABOUET Marguerite Aya de Yopougon 1 2 ABRAHAMSON Lenny Garage 1 ABRAHAMSON Lenny Room 3 3 ABRAMS Jeffrey-Jacob Star Trek: into darkness 3D 3 2 ABRAMS Jeffrey-Jacob Super 8 3 ABU-ASSAD Hany Montagne entre nous (La) (The 3 Mountain Between Us) A DONNER ABU-ASSAD Hany Omar 2 2 ABU-ASSAD Hany Paradise now 2 2 ACEVEDO César Terre et l'ombre (La) (La Tierra y la 2 Sombra) ACHACHE Mona Hérisson (Le) 3 1 ACKERMAN Chantal Nuit et jour 3 2 ADABACHYAN Aleksandr Mado, poste restante 1 3 ADE Maren Toni Erdmann 3 2 ADLON Percy Zuckerbaby 1 3 AFFLECK Ben Argo 2 3 AFFLECK Ben Town (The) 3 3 AGHION Gabriel Absolument fabuleux 2 moy AGHION Gabriel Pédale dure 1 2 AGOU Christophe Sans adieu 1 1 AGOU Christophe Sans adieu 1 1 AGÜERO Pablo Eva ne dort pas (Eva no duerme) 2 AIELLO Shu Paese de Calabria (Un) 2 AJA Alexandre Mirrors 2 AJA Alexandre Piranha – 3D 3 3 AKERMAN Chantal Captive 3 3 AKERMAN Chantal Divan à New York (Un) 2 2 AKHAVAN Desiree Come as you are (The Miseducation of 2 2 Cameron Post) AKIN Fatih In the fade 2 1 AKIN Fatih Soul kitchen (Soul kitchen) 1 AKIN Fatih Cut (The) (La Blessure) 2 AKIN Fatih New York, I love you 2 2 AKIN Fatih Polluting paradise 1 3 AKOLKAR Dheeraj Liv et Ingmar (Liv & Ingmar) 2 2 ALBERDI Maite Ecole de la vie (L') (The Grown-Ups) 1 ALBERTINI Dario Figlio Manuel (Il) 1 1 ALCALA José Coup d'éclat 2 1 ALDRICH Robert En quatrième vitesse
    [Show full text]
  • Reparto Extraordinario Salas De Cine 2012-2018
    1 de 209 Listado de obras audiovisuales Reparto Extraordinario Com. Púb. Salas de Cine 2012 - 2018 Dossier informativo Departamento de Reparto El listado incluye las obras y prestaciones cuyos titulares no hayan sido identificados o localizados al efectuar el reparto, por lo que AISGE recomienda su consulta para proceder a la identificación de tales titulares. 2 de 209 Tipo Código Titulo Tipo Año Protegida Lengua Obra Obra Obra Producción Producción Globalmente Explotación Actoral 725826 ¡¡¡CAVERRRRNÍCOLA!!! Cine 2004 Castellano Actoral 1051717 ¡A GANAR! Cine 2018 Castellano Actoral 3609 ¡ATAME! Cine 1989 Castellano Actoral 991437 ¡AVE, CESAR! Cine 2016 Castellano Actoral 19738 ¡AY, CARMELA! Cine 1989 Castellano Actoral 6133 ¡FELIZ NAVIDAD, MISTER LAWRENCE! Cine 1982 Castellano Actoral 964045 ¡QUE EXTRAÑO LLAMARSE FEDERICO! Cine 2013 Castellano Actoral 1051718 ¡QUÉ GUAPA SOY! Cine 2018 Castellano Actoral 883562 ¿PARA QUE SIRVE UN OSO? Cine 2011 Castellano Actoral 945650 ¿QUE HACEMOS CON MAISIE? Cine 2012 Castellano Actoral 175 ¿QUE HE HECHO YO PARA MERECER ESTO? Cine 1984 Castellano Actoral 954473 ¿QUE NOS QUEDA? Cine 2012 Castellano Actoral 12681 ¿QUE OCURRIO ENTRE MI PADRE Y TU MADRE? Cine 1972 Castellano Actoral 1051727 ¿QUIÉN ESTÁ MATANDO A LOS MOÑECOS? Cine 2018 Castellano Actoral 925329 ¿QUIEN MATO A bAMbI? Cine 2013 Castellano Actoral 801520 ¿QUIEN QUIERE SER MILLONARIO? Cine 2008 Castellano Actoral 12772 ¿QUIEN TEME A VIRGINIA WOOLF? Cine 1966 Castellano Actoral 1020330 ¿TENIA QUE SER EL? Cine 2017 Castellano Actoral 884410 ¿Y
    [Show full text]
  • Our Own Pressions Poe Try
    Our own pressions Poe try DRAWING photography SHORT Teen STORY Writing & Art Contest 2018 Winners Pierce County Library System 2018 Congratulations to the more than 1,100 talented students who participated in the Winners 22nd annual Our Own Expressions Teen Writing & Art Contest. Volunteers, including Pierce County Library System staff and Pierce County Library Foundation Board members, Poe try reviewed the entries. Writers Gloria Muhammad and DRAWING Kathryn Galbraith selected this year’s writing winners, evaluating originality, style, general presentation, photography grammar and spelling. Photographer Dominique Thomas-McCullum and artist Saiyare Refaei selected the art winners based on composition, artistic skills, creativity and effective use of media. SHORT STORY Pierce County Library Foundation awarded the winners with cash prizes, and the winning entries are published in this book. Pierce County Library gratefully acknowledges the support of Pierce County Library Foundation and Pacific Lutheran University to help fund the contest. Our own pressions Poetry Winners Grades 7 & 8 1st What's Today? Livy LeCompte Pioneer Middle School 2nd Dance Vanessa John Lochburn Middle School 3rd About Love Sofia Guerra Annie Wright School Grades 9 & 10 1st Sixty-Five Million Kristine Pham Curtis Junior High School 2nd Screaming in My Whisper Daniel Titov Other 3rd Night Kaylie Steinbacher Bellarmine Preparatory School Grades 11 & 12 1st So I Weep Hannah Carter Franklin Pierce High School 2nd Ignorance Keir Adamson Gig Harbor High School 3rd Of Music
    [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]
  • INTERNATIONAL CONFERENCE on PHILOSOPHY and FILM Thinking Reality and Time Through Film
    INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….………….. …………………………………………………………………………….………….. 1 INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….………….. Thinking Reality and Time through Film Proceedings of the International Lisbon Conference on Philosophy and Film: PROGRAMME OVERVIEWS ABSTRACTS CV’S CONTACTS Edited by Susana Viegas …………………………………………………………………………….………….. 2 INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….………….. Thinking Reality and Time through Film Proceedings of the International Lisbon Conference on Philosophy and Film - 6-10 May of 2014 Conference Directors Christine Reeh José Manuel Martins Pedro Calafate Scientific Committee Christine Reeh Claudio Rozzoni José Manuel Martins Maria Teresa Teixeira Susana Viegas Toni Hildebrandt Organizing Comittee Ângela Marques Carla Simões Filipa Afonso Filipa Seabra Filipe Pinto Isabel Machado Joana Ferreira Held at the Faculty of Letters of the University of Lisbon, National Library, Portuguese Film Museum and the Goethe-Institut Lissabon. Organized by the Centro de Filosofia da Universidade de Lisboa in collaboration with C.R.I.M. Productions, and the Goethe Institut Lissabon. Sponsored by Fundação para a Ciência e a Tecnologia. …………………………………………………………………………….………….. 3 INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….………….
    [Show full text]
  • David Taylor - Poems
    Poetry Series David Taylor - poems - Publication Date: 2007 Publisher: Poemhunter.com - The World's Poetry Archive David Taylor(3rd January 1956) Born, Baby, Child, Adolescent, Student, Employee, Husband, Self Employed, Father, Father, Father, Divorcee, Husband, Father...and throughout all that I'm me! www.PoemHunter.com - The World's Poetry Archive 1 *alone* what should be an invigorating freshness a chill inside (shaking heart beats) traffic on the road silent rising clanking passing (silent again) phone rings silence, recorded voice speaks a real person with taped speech (a recorded message would be better?) selling cheap energy i think i will buy some flowers (petals coloured fragrance) arrange them in a wreath celebrate my death reports of (my) death greatly exaggerated until the silence speaks with the voice of great souls (departed) come in they say (here is the place) to be; alone in eternity. David Taylor www.PoemHunter.com - The World's Poetry Archive 2 *dance Ohh bliss what do you say, do you have a voice today? Where may I find your joy, which I remember as a boy? Ahh bliss where are you now, hidden under frown of brow? Where may I find your sound, which surely must be all around? Hmm bliss what is it that I miss, as I go on with that and this? Where may I find your smile, in each and every hour and mile? Yes I can feel it now, the harmony of the sky and clouds, the moon's revolving round, earth's harvest after plough. It is a dance eternal found the sweetest movement in all sound; and never will be missed, as by that bliss this life is kissed.
    [Show full text]