Mannen Med Filmkameran Studier I Modern Film Och Filmisk Modernism Andersson, Lars Gustaf; Hedling, Erik

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Mannen Med Filmkameran Studier I Modern Film Och Filmisk Modernism Andersson, Lars Gustaf; Hedling, Erik Mannen med filmkameran Studier i modern film och filmisk modernism Andersson, Lars Gustaf; Hedling, Erik 1999 Document Version: Förlagets slutgiltiga version Link to publication Citation for published version (APA): Andersson, L. G., & Hedling, E. (Red.) (1999). Mannen med filmkameran: Studier i modern film och filmisk modernism. (Absalon : skrifter / utgivna vid Litteraturvetenskapliga institutionen i Lund; Vol. 16). Litteraturvetenskapliga institutionen, Lunds universitet. 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LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Mannen med filmkameran Redaktörer: Lars Gustaf Andersson och Erik Hedling 1 ABSALON Skrifter utgivna vid Litteraturvetenskapliga institutionen i Lund Mannen med filmkameran Redaktörer Lars Gustaf Andersson och Erik Hedling 1 ABSALON Skrifter utgivna vid Litteraturvetenskapliga institutionen i Lund Helgonabacken 12 223 62 LUND Författarna och Litteraturvetenskapliga institutionen i Lund 1999 Redaktion för skriftserien: Birthe Sjöberg (red), Lars Gustaf Andersson, Anders Palm, Johan Stenström, Jenny Westerström Omslagsbild: Jan Thavenius Layout: Birthe Sjöberg ISSN 1102-5522 ISBN 91-88396-15-0 Tryck: Universitetstryckeriet LUND 1999 Innehåll Lars Gustaf Andersson & Erik Hedling: Förord 7 Lars Gustaf Andersson: Den omöjliga kärleken. Pasolini och Livets trilogi 9 David Aquilon: Den sönderslitande vertikaliteten: Fallrörelsen som motiv i Ingmar Bergmans postreligiösa landskap 12 Anna Arnman: Francis Bacon och Clive Barker – köttets konstnärer 25 Monica Dofs Sundin: Rödluvan som modernistisk filmfars 34 Erik Hedling: Michelangelo Antonioni: Om ingenting – med precision! 53 Olof Hedling: Den olyckliga modernismen?– anteckningar om den europeiska konstfilmens genombrott och följder 68 Mats Jönsson: Det grymma landet mellan modernmism och postmodernism: Reflektioner över 1970-talet 77 Ingegerd Källström: Ögat som spårhund: Balázs och uppmärk- samhetens estetik 84 Mariah Larsson: Kvinnors minnen. Tillbakablickar i Mai Zetterlings Älskande par 92 Daniel Lindvall: I stormens skugga: La Sarraz 1929 102 Anders Marklund: Vår ännu ihågkomna lantlighet 111 Michael Tapper: Beep-Beep! Zoom! 120 Ann-Kristin Wallengren: Ljudet och musiken i det moderna projektet: Modern Times, Mon Oncle och Koyaanisqatsi 131 Magnus Widman: Det deformerade rummet. Från Welles till Friedkin via konstfilm 147 Anders Åberg: Vägs ände. Anteckningar om Vilgot Sjömans Tabu 160 Förord Det här är en bok om modern film och om filmisk modernism, två fält som ofta men inte med nödvändighet överlappar varandra. Boken är skriven av medlemmar i det filmvetenskapliga doktorandseminariet vid Litteraturve- tenskapliga institutionen i Lund; i de flesta fall är texterna att betrakta som resultat ur pågående avhandlingsarbeten. Här finns olika aspekter beakta- de; ekonomi och filmproduktion, ljud- och musikarbete, animerad film, ka- meraarbete, auteurer och stilar. Det är en provkarta på hur reflexionen över filmkonsten och filmindustrin kan se ut några år in på filmens andra sekel. Tanken är att de olika texterna skall kunna användas på skilda nivåer i un- dervisningen inom filmvetenskap och komplettera den internationella forskningslitteraturen på området med några svenska perspektiv. Men det här är inte bara en lärobok och en dokumentation av pågående forskning. Det är också en vänbok till en kollega och lärare vid institutio- nen, Joel Ohlsson, som under lång tid stått för såväl kontinuitet och stadga som inspiration och engagemang inom filmundervisningen i Lund. Vi som skriver den här boken står alla i tacksamhetsskuld till Joel för den undervis- ning vi själva fått ta del av som studenter, men också för det ovillkorliga stöd han hela tiden har gett oss under utarbetandet av nya film- och medie- kurser och för den förbehållslösa kamratskap han stått som garant för. Mycket skulle sett annorlunda ut för oss om inte Joel berett vägen. Att boken heter Mannen med filmkameran och därtill rör det modernas problem är ingen slump. Kanske hade titeln Mannen med filmprojektorn varit mer adekvat när det gäller en filmpedagog, men anspelningen på Ver- tovs klassiker antyder det stora intresse Joel Ohlsson hyst för de modernis- tiska rörelserna, inte minst den sovjetryska filmen. Mannen med filmkameran har också varit ett stående inslag på de filmresor som under Joels tid terminsvis företagits till Det Danske Filmmuseum. I de trånga lo- kalerna vid Stora Søndervoldsstræde har många generationer lundensiska filmstudenter insupit de filmiska mästerverken, alltid med Joel som cice- ron. 7 Förord Ett annat stående inslag vid dessa köpenhamnska filmvisningar har varit Chris Markers kortfilmsklassiker La Jetée, ”Terassen” från 1962. I en av sina krönikor i tidningen Arbetet (10 september 1998) återkommer Joel till denna märkliga film som på ett undantag när består av hopklippta stillbil- der och som ”därmed egentligen förnekar filmkonstens grundläggande princip”. Filmen utspelar sig efter tredje världskriget i Paris katakomber. För att undersöka var räddningen undan den smittande radioaktiviteten kan finnas, lyckas man sända en man bakåt i tiden. Under plågor, orsakade av de kraftfulla injektioner som ges, reser mannen tillbaka i sitt minne och möter en kvinna. Joel Ohlsson beskriver deras möte: Hon frågar inte varifrån han kommer. De vandrar tillsammans i en park. De be- traktar ett sequoiaträd, där stammen är täckt med historiska årtal. Han pekar på en punkt utanför trädet och hör sig själv säga: ”Därifrån kommer jag”. Han förlorar medvetandet, men en ny injektion lyfter honom på ytterligare en tidsvåg tillbaka till kvinnan. Hon ligger och sover. Först är det tyst, men efter flera övertoningar börjar fåg- larna höras allt starkare. Bilderna kommer allt tätare. Hon vaknar. Hon öppnar ögonen. Hon blinkar. För ett kort ögonblick projiceras berättelsen i ”Terassen” med 24 filmrutor i sekunden. Det är en nästan omärklig rörelse. Men varje gång jag ser filmen fyller mig detta uppvaknande med en djup glädje. Den goda pedagogiken är fylld av sådana ögonblick av igenkännande och glädje, inte sällan orsakade av nästan omärkliga rörelser. Det är vi tacksam- ma för. Lars Gustaf Andersson & Erik Hedling 8 Den omöjliga kärleken Den omöjliga kärleken – Pasolini och Livets trilogi Lars Gustaf Andersson Pier Paolo Pasolini kom till Rom i början av 50-talet. Mötet med storstaden innebar att en explosiv kreativitet frigjordes; frenetiskt skrev Pasolini dik- ter och essäer i tidskrifter, han översatte, han skrev filmmanuskript, han förberedde de stora prosaverken Ragazzi di vita och Una vita violenta och samlade ihop de dikter som skulle komma att utgöra Le ceneri di Gramsci. Han var ”fattig som en katt på Colosseum” men samtidigt måste detta ses som en av hans mest expansiva perioder. I en dikt skrev han: En själ i mig, som inte enbart var min egen, en liten själ i denna obegränsade värld, växte, närd av glädjen hos den som älskar, även oälskad. Och allt lystes upp av denna kärlek. Denna oerhörda kärlek som Pasolini hyste till världen, den oerhörda ”vita- litet” som han själv talade om i dikter och dagboksanteckningar, stod i ett olyckligt men nödvändigt förhållande till hans konst. Det enda sätt på vil- ket han kunde förklara sin kärlek var genom konsten; samtidigt fanns alltid konsten där som en hinna mellan honom och världen. Han klagade ofta över sin isolering, och mycket av hans kraft gick åt till att försöka hitta nya vägar till publiken. Ett försök var ”Livets trilogi”, dvs. de tre filmer som Pasolini regissera- de under början av sjuttiotalet på basis av klassisk epik: Decamerone (1971), Canterbury Tales (1972) och Tusen och en natt (1974). I intervjuer påpekade Pasolini att han med dessa filmer ville berätta ”för berättandets egen skull”, för det han kallade ”berättandets lust”; samtidigt som det står klart att han också ville befria sig från det ok som konstfilmen lagt på ho- nom under 1960-talet. Detta var ingen oproblematisk ståndpunkt. I Deca- merone hyllas berättarlusten och fabuleringen, den sköna lögnen som är 9 Lars Gustaf Andersson intimt förknippad med erotisk lust. Detta gav underlag för kritik från den ortodoxa vänstern som nu kunde bevittna ett avfall, samtidigt som även kulturkonservativa krafter reste ragg, inte minst den mäktiga Boccaccio- forskningen. I USA kom emellertid, om än efter Pasolinis död, en Boccaccio-forskare till undsättning. Det handlar om Millicent Joy Marcus som i sin avhandling An allegory of form (1979) går i bräschen för en tolk- ning som sätter just berättandets lust i centrum. Med hänvisning till medel- tidsfilosofen Boëthius och dennes De Consolatione philosophiae, ”Filoso- fins tröst”, utvecklar Marcus
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