Dear Colleagues...
I´m looking for vertical film compositions in films. Not only in
credits. Any suggestions? I am completely lost.
Luis Gaspar
www.fotosessions.es
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www.luisgaspar.com
91 389 69 97
El 20/02/2008, a las 20:56, Nicky Hamlyn escribió:
> Best to avoid the excrutiating, embarrassing "work" he did for the
> soft-porn photographer cum filmmaker David Hamilton, which is
> shocking not least because it seems (or seemed to me at the time) to
> be a complete negation of his extraordinary novels.
>
> Nicky Hamlyn.
>
>
> On 20 Feb 2008, at 19:35, Duncan Chesney wrote:
>
>> Re: Alain Robbe-Grillet -
>>
>> I am interested in what film-philosophy people today think about
>> ARG, now that he has passed on - that is, what they think about his
>> contribution to cinema. Which is to say, not really Marienbad,
>> Resnais' movie, but l'Immortelle, Trans-Europ Express, l'homme qui
>> ment, and l'eden et apres (things afterwards are admittedly
>> increasingly problematic, e.g. Glissements progressifs du plaisir ).
>> I remember being really struck by l'eden et apres in grad school,
>> and then the others as I worked my way backward through pirated
>> copies of the earlier films. The initial a-temporal thematic
>> listing (of images), followed by their insertion in time
>> (narrative), is very interesting and unusual (like Joyce in the
>> Sirens chapter of Ulysses). Should this be forgotten?
>>
>> I am currently writing (or planning to...) a book chapter on Robbe-
>> Grillet, and what seems unfair to me is how much he has fallen out
>> of the critical discourse, given my sense that he is among the most
>> important novelists of the century. But he is NOT one of the most
>> important filmmakers, and I have a bit of trouble really placing
>> him, since there is so little substantial criticism, and nothing
>> recently.
>>
>> So what do people think? Are any of these movies worth reviving?
>> Curiously Koch Lorber did recently release a dvd of la belle
>> captive, surely NOT a major ARG film. Is ARG destined for the soft-
>> porn circuit, a sort of overly intellectual, tedious Jesus Franco?
>> Or is there something challenging, if not of Resnais quality, about
>> the experimentation with narrative in those first four films? I
>> personally, living and teaching in Turkey, find l'Immortelle
>> fascinating in its shameless use of touristical imagery on the one
>> hand (Istanbul doesn't exist for a westerner; it is merely a poster
>> of minarets above the bosporus on the wall of a travel agency), all
>> the while that it, with real discipline, eschews any real use
>> Istanbul to give lie to that thesis. I find this a brilliant
>> statement about cultural otherness. Its implication with the
>> feminine object of desire may have its glitches, but the movie is
>> certainly worth a new viewing (i.e. dvd release).
>>
>> Likewise l'homme qui ment (and Jean-Louis Trintignant's performance
>> in it) is certainly worth mentioning in the context of narrative
>> experimentation in late 60s french film, and by its undermining of
>> cinema subjectivity and narrative convention (again, Resnais
>> insights; not exactly Resnais execution) merits some kind of place
>> in a canon of that period. I guess I am revealing the answer I have
>> to my own question: in parts interesting, but not Alain Resnais.
>> But I wonder if others have something more to add. In memoriam at
>> least....
>> Duncan Chesney
>>
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