VIDEODROMA

Harvest time in the islands of the Caspian Sea

2012-02-01T12:06:00.000-08:00

Implacável

2012-02-01T00:03:00.000-08:00

Bois ton cafe, il va être froid

2012-01-26T15:43:00.000-08:00

Letra

CENAS DA LUTA DE CLASSES EM PORTUGAL

2012-01-17T21:43:00.000-08:00

SCENES FROM THE CLASS STRUGGLE IN PORTUGAL
ROBERT KRAMER (1977)

LES CHEMINS PERDUS- Garrel

2012-01-17T17:25:00.000-08:00

http://www.ubu.com/film/garrel_chemins.html

Violin Phase

2012-01-13T09:42:00.000-08:00

RABID DOGS (1974)

2012-01-13T09:37:00.000-08:00

1/10

SALT OF THE EARTH

2012-01-04T19:11:00.000-08:00

Herbert J. Biberman (1954)

1/10

Classicismo experimental:

2012-01-04T09:18:00.000-08:00

The Gang's All here, de Busby Berkeley

LARKS ON A STRING

2011-12-20T18:19:00.000-08:00

LARKS ON A STRING, de Jiří Menzel (Checoslováquia, 1969)

A fé na 'mise en scène'

2011-12-16T03:05:00.000-08:00

2 / 3 / 4 / 5 / 6 / 7 / 8 / 9

Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of 'fair use.' The recent amendments to the Copyright Act of 1976 pertain to music. 'Fair use' remains in force for film and video.

GOING THROUGH THE ROOF

2011-12-12T11:20:00.000-08:00

2 / 3 / 4

DAS BLAUE LICHT

2011-12-08T21:17:00.000-08:00

by Leni Riefenstahl and Béla Balázs
1932

1/8

THE PHANTOM TOLLBOOTH (1970)

2011-12-06T18:37:00.000-08:00

2 / 3 / 4 / 5 / 6

WHO IS THE MASTER (WHO MAKES THE GRASS GREEN) ?

2011-12-04T14:22:00.000-08:00

MARKETA LAZAROVÁ

2011-12-02T10:07:00.000-08:00

MARKETA LAZAROVÁ, de František Vláčil (Checoslováquia, 1967)

curtas de

2011-11-29T08:37:00.000-08:00

Michel Chion

Le Grand Nettoyage - 1975

Chant de Nuit - 1994

MATERIALIDADE : O FILME NO QUAL...

2011-11-29T08:26:00.000-08:00

FILM IN WHICH THERE APPEAR

EDGE LETTERING, SPROCKET HOLES,

DIRT PARTICLES,

ETC...
OWEN LAND, 1965

Regresso de uma pista.

2011-11-29T07:29:00.000-08:00

RETOUR D'UN REPÈRE | Unhas follas de árbores a contraluz, en picado, cun fondo de agua, tremen. Nalgún fotograma cóase o vermello do solpor reflectido na agua. Nalgúns planos a rama está máis cargada de follas que noutros. Cada fotograma é distinto, a pesar de que o que acabamos por ver sexa a ilusión dunha e a mesma rama tremendo sobre a agua. O punto de enfoque cambia continuamente de fotograma en fotograma: cando as follas están desenfocadas o lago tras elas enfócase, facéndose presente. Se o foco se centra nas follas a agua vólvese un fondo branco indistinto, con algún toque de vermello de vez en cando, que contrasta coa escuridade das follas (algunhas follas están na sombra, outras receben a luz do sol). Ben polo enfoque cambiante, ben polo movemento real das follas ao vendo, non hai dous fotogramas iguais (no rolo base, como veremos). Dentro desta variedade de enfoques apreciamos secuencias nas que distinguimos as mesmas follas como pixiladas ("animadas", ou cámara movéndose a saltos: imposíbel de dicir). Todo é unha construción fotograma a fotograma: a cámara perde protagonismo, non se move, non treme, porque a brevidade do fotograma non llo permite. (A. Pagán)| ROSE LOWDERwder)

GIU LA TESTA (OST)

2011-11-27T21:37:00.000-08:00

Inquérito a um cidadão acima de qualquer suspeita.

2011-11-27T03:48:00.000-08:00

Indagine Su Un Cittadino Al Di Sopra Di Ogni Sospetto
ELIO PETRI (1970)

Man from the South

2011-11-24T10:36:00.000-08:00

In a Las Vegas casino, an unpleasant little man hopes to use a young man's wish to impress the young woman he has just met to pressure the young fellow into accepting a macabre bet.

ROSAS DANST ROSAS (1997)

2011-11-07T14:04:00.000-08:00

White Dog (1982)

2011-10-09T13:20:00.000-07:00

Só porque o cinema por vezes é tão incompreendido, e o racismo manisfesta-se de tão variadas formas. Mas o culpado é sempre o mesmo: o HOMEM.

BEGOTTEN.

2011-10-07T13:07:00.001-07:00

BEGOTTEN
E. Elias Merhige (!991)

A sugestão de Patrick Mendes.

O terror como jam session

2011-10-04T15:57:00.000-07:00

FALKENAU, O IMPOSSÍVEL

2011-09-20T22:00:00.000-07:00

FALKENAU, THE IMPOSSIBLE

por Louis Skorecki

(Falkenau, the Impossible). 1988. Michklan World Production (52 minutos). Direção: Emil Weiss. Produção: Emil Weiss. Roteiro: Emil Weiss. Fotografia: Pierre Boffety, Samuel Fuller (P/B e cor). Montagem: Emil Weiss (não creditado), Samuel Fuller (não creditado). Música: Teddy Lasry. Elenco: Samuel Fuller (também narrador).

O horror que escapa à vista

O horário é tardio mas não se deve perder estes 35 minutos assinados por Samuel Fuller sob qualquer pretexto. Quem ama o cinema se precipitará à Visão do impossível por ser, segundo as próprias palavras de Fuller, seu « primeiro filme », um filme que tem a graça terrível dos mais belos Dreyer. Quem quer saber o que foi o Holocausto (e não o Shoah, atenção a esta palavra poética que não significa nada) encontrará nestas imagens assustadoras, mas jamais grandiloqüentes, a melhor das respostas.

O jovem Fuller, 34 anos, tem entre as mãos sua primeira câmera, uma Bell and Howell à manivela que lhe foi enviada pela mãe. Muda evidentemente. Preto e branco evidentemente. Seu batalhão está a um passo de liberar o campo de Falkenau, na Tchecoslováquia. Um campo de concentração ordinário, pouco conhecido, sem importância. Não possui sequer uma câmara de gás, isto é. Nada a não ser cadáveres de uma magreza aterradora, corpos judeus comparáveis a duas gotas de água em relação aos corpos mais midiatizados saídos do inferno de Treblinka ou de Maïdanek.

« Percebe-se o amador », diz Samuel Fuller ao rever essas imagens. Um silêncio, depois ele acrescenta: « Mas a matança, isso era obra de profissionais ». As imagens foram montadas com a ajuda de Emil Weiss, que filma também em contraponto (e em cores) o velho Samuel Fuller, juba branca ao vento, de volta aos locais desse « pesadelo inesquecível », 44 anos depois, em 1988. O capitão ordenou aos notáveis de Falkenau, os que pretendiam nada ter visto, nada saber, de exumar esses corpos esqueléticos, vesti-los, antes de atravessar a cidade empurrando a carreta, e de enterrá-los. O espetáculo desses cadáveres descarnados, vestidos um a um, é aterrorizador, a humilhação pública, a de haver mentido, é infinitamente pior. Os soldados americanos e os sobreviventes do campo estão lá, plantados, como em um circo. A tortura psicológica infligida por Lanzmann às testemunhas polonesas dos campos em Shoah encontra aqui sua cena primitiva. Vocês mentiram, agora pagam. Toda a verdade e o horror do Holocausto estão lá, não busque em outro lugar.

(Libération, 30 de janeiro de 2006)

Itinéraire d'un "ciné-fils"

2011-09-20T19:55:00.000-07:00

SILÊNCIO.

2011-09-17T03:44:00.001-07:00

SILENCIO
FJ OSSANG 2006

A Forma Como Agora Fazemos Arte e Outros Contos Sagrados

2011-09-16T04:12:00.000-07:00

The Way We Do Art Now and Other Sacred Tales
JOHN BALDESSARI (1973)

: "Up Your Legs Forever"

2011-09-11T20:47:00.000-07:00

LEGS FOR PEACE
JOHN LENNON + YOKO ONO (1970)

Soylent Green

2011-09-09T12:50:00.000-07:00

Aquarela do Brasil

2011-08-23T09:23:00.000-07:00

Boat People (1982)

2011-08-01T14:58:00.000-07:00

A landmark of the nascent Hong Kong New Wave of the early '80s, this melodrama -- directed by Ann Hui -- concerns the plight of Vietnamese peasants shortly after the fall of Saigon. The film centers on a Japanese photojournalist named Shiomi Akutagawa (George Lam Chi-cheung) who ventures to Danang to document Vietnam's attempts at rebuilding after the war. At first he's bussed around by government officials showing off quaint villages and happy, healthy children. Later, he manages to get permission to wander about the countryside without a government chaperon. Soon he happens upon a young lass named Cam Nuong (Season Ma Si-san) who is from a desperately poor family. At first she is suspicious and even hostile towards the foreigner but quickly they develop a bond of sorts. As Akutagawa starts seeing Vietnam through Cam Nuong's eyes, he starts to realize that everyday life is far different from the state propaganda. Villagers live in constant terror of marauding soldiers, and children scavenge the bodies of executed prisoners for valuables. This film, which was shot in Mainland China, garnered armloads of Hong Kong Film Awards including Best Picture, Best Director, and Best Screenplay. This film also launched the career of future pop icon and movie star Andy Lau. - Jonathan Crow

Fonte: Youtube

FEAR ON FILM (1982)

2011-07-28T14:23:00.000-07:00

I A MAN.

2011-07-16T09:12:00.000-07:00

I A MAN

ANDY WARHOL

Extase (1933)

2011-07-07T21:21:00.003-07:00

Εκsταsε (1933)
Gustav Machatý

1/9

Cigarros e café

2011-07-06T14:40:00.001-07:00

Cinema Espanhol

2011-06-26T14:06:00.000-07:00

Muerte de un Ciclista - 1955 - Juan Antonio Bardem

El Verdugo - 1963 - Luis García Berlanga

A ambiguidade acutilante da tv americana

2011-06-24T10:28:00.000-07:00

ou o génio de Andy Kaufman:

El Hotel Eléctrico (1908)

2011-06-14T17:38:00.000-07:00

El Hotel Eléctrico (1908), de Segundo de Chomon

Um dos primeiros filmes onde foi feito o uso da técnica de Stop-Motion. Segundo de Chomon foi um dos pioneiros, tendo produzido dezenas de curtas no início do século.

: Portret.

2011-06-14T16:51:00.000-07:00

"Portret",
Serguei Loznitsa, 29 mn, 2002

THE QUEEN IS DEAD (1986)

2011-06-12T20:04:00.000-07:00

The Queen is Dead
é uma curta-metragem em forma de «pop-promo» para três canções dos The Smiths: The Queen Is Dead, There Is a Light That Never Goes Out e Panic.
Depois de uma má recepção à longa metragem The Tempest (uma adaptação pouco convencional de Shakespeare, concluída em 1979), Jarman esteve sete anos a fazer filmes experimentais em Super 8mm, até conseguir arranjar financiamento suficiente para fazer Caravaggio (1986), que acabou por se tornar na sua obra mais reconhecida.

A curta foi feita a partir destas experiências e não foi o primeiro projecto de Jarman relacionado com o panorama musical da época, tendo feito anteriormente telediscos para os The Sex Pistols, Marianne Faithfull, Orange Juice, Marc Almond, entre outros.

The Prisoner of Shark Island (1936)

2011-06-11T20:02:00.000-07:00

The Prisoner of Shark Island por crazedigitalmovies

Obrigado ao Paulo Soares.

Tale of Tales (1979)

2011-06-11T19:15:00.000-07:00

Tale of Tales is a 1979 Soviet/Russian animated film directed by Yuriy Norshteyn and produced by the Soyuzmultfilm studio in Moscow. It has won numerous awards, has been acclaimed by critics and other animators, and has received the title of greatest animated film of all time in various polls. It has been the subject of a 2005 book by Clare Kitson titled Yuri Norstein and Tale of Tales: An Animator's Journey.

In addition to the original score composed by Mikhail Meyerovich, this film makes use of several other pieces of music. Excerpts from works by Bach (notably the E flat minor Prelude BWV 853 (from The Well-Tempered Clavier)) and Mozart are present, and the World War II era tango Weary Sun, written by Jerzy Petersburski, features prominently. However, the most important musical inspiration is the following traditional Russian lullaby, which is included in the film in both instrumental and vocal form.

Fonte: Youtube

Rumo ao Farol....

2011-06-11T17:05:00.000-07:00

THE LIGHTHOUSE | MAYAK
Maria Saakyan. Armenia 2007.

via Mustafa Uzuner!

RIO VERMELHO

2011-06-10T09:09:00.000-07:00

O fantasma de Faffner Hall

2011-05-30T19:21:00.000-07:00

: Parabéns, Varda!!

2011-05-29T17:00:00.001-07:00

30 de Maio!

Le Lion Volatil

AGNÈS VARDA (2003)

L'Opera Mouffe I

L'Opera Mouffe

AGNÈS VARDA (1958)

parte 1 de 3

: DIRTY

2011-05-27T13:25:00.000-07:00

DIRTY

STEPHEN DWOSKIN (1965)

: Hakob Hovnatanyan

2011-05-24T21:55:00.000-07:00

watch : Hakob Hovnatanyan

Sergei Paradjanov: 1965

"AKOP OVNATANIAN, 1965 - Exploring the art of Armenian portraitist Hakob Hovnatanyan, Parajanov revives the culture of Tbilisi of the 19th century. SHADOWS OF FORGOTTEN ANCESTORS (1967) ... aka Teni zabutykh predkiv. (1964) - In a Carpathian village, Ivan falls in love with Marichka, the daughter of his father's killer. When tragedy befalls her, his grief lasts months; finally he rejoins the colorful life around him, marrying Palagna. "

via UBU WEB

BEN RUSSELL'S GODS!

2011-05-24T14:33:00.000-07:00

by Ben Russell

The Black and the White Gods

The Red and the Blue Gods

: THANKS TO PEDRO TRENO

LES ENFANTS JOUENT À LA RUSSIE

2011-05-09T05:50:00.001-07:00

GODARD, 1993

1/6

LOTTE IN ITALIA

2011-05-08T04:59:00.000-07:00

GODARD + GORIN (1971)

Godard e Gorin - Lotte in Italia (1971) from Luigi Morganti on Vimeo.

double pollet

2011-05-06T05:22:00.000-07:00

Pourvu qu'on ait l'ivresse
(Jean-Daniel Pollet, 1957, KINOTE)

Pourvu qu'on ait l'ivresse (Jean-Daniel Pollet, 1957, KINOTE) from jeanne dielman on Vimeo.

Mediterranée
(Jean-Daniel Pollet, 1963)

1/5

Fazer do travelling religião:

2011-05-04T10:43:00.000-07:00

still life

2011-05-03T17:36:00.000-07:00

Sanxia Haoren
Zhang Ke Jia (2006)

ELECTROMA.

2011-04-27T01:42:00.000-07:00

1/7
Electroma
DAFT PUNK

A velha e os pombos

2011-04-23T07:02:00.000-07:00

: Arena

2011-04-10T09:16:00.001-07:00

ARENA

JOÃO SALAVIZA (2009)

JAIME

2011-04-09T02:07:00.000-07:00

AVISO! Se puderes,

faz um favor a ti próprio e não ponhas este vídeo em on

se souberes que tens como ver isto no cinema,

na cinemateca ou nalguma mostra, cine-clube ou festival.

JAIME

ANTÓNIO REIS (1974)

ARSENAL.

2011-04-05T22:44:00.000-07:00

Arsenal
a revolutionary epic
1929, Aleksandr Dovzhenko, Soviet Union

Body-tv

2011-04-04T21:12:00.000-07:00

CHRIS BURDEN'S
TV ADS

BANKSY BY BANSKY

2011-04-04T05:23:00.000-07:00

EXIT THROUGH THE GIFT SHOP
BANKSY (2010)

MARIA DO MAR.

2011-04-04T05:07:00.000-07:00

MARIA DO MAR

JOSÉ LEITÃO DE BARROS (1930)

Lang e Friedkin

2011-03-31T12:23:00.000-07:00

"One day, we walked into an appartment house where a man was accused of murder. We found cut off hands under his bed. Or another one - whom I never met, I heard, only, about him - who made sausages out of wondering young people, you know? But as long as you haven`t seen what I saw. For example, let me see, a woman in a small shop - where you can buy food and cans and anything - lying killed over the table where she sells things, you know?

The blood drops in, drops, drops... Only then you can understand why the police is for capital punishment."

Fritz Lang

Comida (1992)

2011-03-09T12:56:00.000-08:00

ou a sociedade canibal de Jan Svankmajer

UMA HISTÓRIA DE VENTO!!

2011-03-06T12:06:00.000-08:00

Garantidamente, a melhor prenda que podiam dar a vocês próprios.

Um verdadeiro achado, entre a imensidão do Youtube. Um agradecimento à alma bondosa que tão bem partilhou.

UNE HISTOIRE DE VENT

JORIS IVENS (1988)

Mosqueteiro Moderno

2011-03-03T13:04:00.000-08:00

A Modern Musketeer
ALLAN DWAN (1917)

"...Le cinéma avait une vie indépendente des hommes..."

2011-03-01T00:37:00.000-08:00

Le Film à VenirRAÚL RUIZ (1997)

A máscara do demónio.

2011-03-01T00:19:00.000-08:00

(activa o fullscreen do video)

BLACK SUNDAY
MARIO BAVA (1960)

: In love with

2011-02-27T06:33:00.000-08:00

Dance of her hands
Tilly Losch (1930-33)

When you're a stranger...

2011-02-24T23:22:00.000-08:00

I'M A STRANGER HERE MYSELF

NICHOLAS RAY , 1975

O animador.

2011-02-23T14:54:00.000-08:00

L'Animateur - The Animator - Der Trickzeichner
EARTHLY DELIGHTS | NICK HILLIGOSS

DOUBLE DURAS!

2011-02-21T23:38:00.000-08:00

Curtas de Marguerite Duras

Cesarée
1978

Cesarée (1978) from BelofBradford on Vimeo.

les mains négatives
1978

Les mains négatives (1978) from BelofBradford on Vimeo.

LOTTE REINIGER

2011-02-16T22:40:00.001-08:00

Thumbelina
Lotte Reiniger

Thumbelina Lotte Reiniger
Enviado por BFIfilms. - Assista vídeos originais da Internet.

59 min de

2011-02-16T22:40:00.000-08:00

ZORNS LEMMA
HOLLIS FRAMPTON (1970)

1ª curta.

2011-02-14T21:29:00.000-08:00

Saute ma ville
CHANTAL AKERMAN (1968)

Ernesto de Martino.

2011-02-11T18:17:00.000-08:00

La Terra Del Rimorso
Ernesto De Martino

No More Workhorse Blues

2011-02-11T15:09:00.001-08:00

NO MORE WORKHORSE BLUES by Bonnie "Prince" Billy
video directed by HARMONY KORINE

IRANIAN PROTEST FILM

2011-02-08T06:28:00.001-08:00

Untitled ('For Jafar Panahi & Mohammad Rasoulof') - Protest Film by (anonymous) Iranian Filmmaker from Cine Foundation International on Vimeo.

Apresentando

2011-01-23T21:08:00.000-08:00

Conde Ferreira
Daltonic Brothers

conde ferreira

daltonic brothers | Myspace Video

via Patrick Mendes. Obrigada.

Screentests.

2011-01-23T21:01:00.000-08:00

B&W 16mm Screentests
Matt Porterfield

B&W 16mm screen tests from Matt Porterfield on Vimeo.

VULTURE.

2011-01-21T14:20:00.000-08:00

UNTITLED (VULTURE IN THE STUDIO)

João Onofre

The absurd can often be a revealing window into reality. Items out of context, people out of place heighten awareness and make deliberate reflection inevitable. João Onofre’s work Untitled (Vulture in the Studio) is just such a confrontation, offering a seemingly innocuous set – the artist’s studio – and imbuing it with an irrationality that leads the viewer into another realm of interpretation. At first, we see nothing but an empty studio, clear in its purpose, harmless in its implications. Slowly, we become aware of curious sounds infiltrating the space: ominous scratching, dragging steps. Casually expecting a human being, we are immediately set off balance by the appearance of an enormous vulture, displaced and frightened. The animal takes its time exploring the details of its confinement, pecking randomly at books and papers, jumping awkwardly from floor to shelf. As it balances itself tediously on its makeshift perch, it stabs violently at the paper trail left behind by the studio’s owner, wobbling uncomfortably, breathing heavily, unsettled by the restricted space. It attempts flight but is unable to really go anywhere, and we are left feeling rather sorry for this poor soul, trapped in a world that has no markers of its existence.

In Egyptian mythology, the vulture has been allegorized as a purifier, while in alchemy, the vulture is the symbol of sublimation, the relationship between the fixed aspects of life and the chaotic. This role of mediator is made even clearer in Onofre’s studio, as the bird tries to make sense of this world, our world of tangible limits and boundaries.

The overwhelming image of the impressive animal in turmoil, questioning and challenging its surroundings echoes the daily human struggle to deal with the constructed nature of our being. We are reminded that we are also active intermediaries between the ordered and the chaotic, and that despite our best efforts, we are often equally as frightened and displaced. But beyond the allegorical, beyond the symbolism, within the stifling borders of the artist’s studio, this great bird is also brought down to earth, back to reality. Out of its element, removed of its majestic context, it is after all just a bird, a bit too big, not very attractive, and very unsure of itself.

YEAH!

2011-01-15T08:10:00.000-08:00

LOS ANGELES PLAYS ITSELF
THOM ANDERSEN

: The Big Swallow

2011-01-12T01:40:00.000-08:00

The Big Swallow
James Williamson (1901)

: Nostalgia

2011-01-11T01:13:00.000-08:00

(nostalgia)
Hollis Frampton

"In (nostalgia), Frampton is clearly working with the experience of cinematic temporality. The major structural strategy is a disjunction between sound and image. We see a series of still photographs, most of them taken by Frampton, slowly burning one at a time on a hotplate. On the soundtrack, we hear Frampton's comments and reminiscences about the photographs. As we watch each photograph burn, we hear the reminiscence pertaining to the following photograph. The sound and image are on two different time schedules. At any moment, we are listening to a commentary about a photograph that we shall be seeing in the future and looking at a photograph that we have just heard about. We are pulled between anticipation and memory. The nature of the commentary reinforces the complexity; it arouses our sense of anticipation by referring to the future; it also reminisces about the past, about the time and conditions under which the photographs were made. The double time sense results in a complex, rich experience." - Bill Simon

: The Seventh Horse of the Sun

2011-01-04T21:16:00.000-08:00

Suraj Ka Satwan Ghoda

Shyam Benegal (1993)

1/18

A ORIGEM DO SÉC XXI

2011-01-04T21:03:00.000-08:00

De l'origine du XXIe siècle

JEAN LUC GODARD (2000)

1/2

1º filme de JLG

2011-01-04T20:57:00.000-08:00

Excerto de 7min de

Opération Béton

JEAN-LUC GODARD (1954)

Música, Gráficos, etc, de autoria desconhecida

West & Soda

2010-12-31T15:18:00.001-08:00

west and soda
BRUNO BOZZETTO (1968)

final scene

VA BENE!!

2010-12-13T00:05:00.000-08:00

CORREI, MORTAIS, CORREI
PARA O YOUTUBE.
ALVÍSSARAS PÚBLICAS
ÀS ALMAS GENEROSAS.

Otello
por Carmelo Bene

Agora ide, que há também AMLETO!

"...it all seems to evade from our present memory"

2010-12-07T21:07:00.000-08:00

[film] memory
by Pedro Maia

SUPER 8 TRANSFERED TO BETACAM PAL, COLOR, STEREO, 7’, 2007

Film by Pedro Maia
Music by Panda Bear

Anna May Wong in

2010-11-28T16:46:00.000-08:00

The Toll of the Sea
Directed by Chester M. Franklin (1922)

1/5

It's the first feature film produced using Technicolor.
Loosely based on Puccini's opera Madame Butterfly.

NEWSREELS.

2010-11-19T01:35:00.000-08:00

ver online aqui:NEWSREELS

Importantes Newsreels americanos sobre a II Guerra Mundial, incluindo
os capítulos I e II da famosa série de sete episódios "Why we fight", produzida por Frank Capra

: Amor é

2010-11-18T03:34:00.000-08:00

L'Ordre
JEAN DANIEL POLLET (1973)

O MÍNIMO GESTO.

2010-11-18T03:10:00.000-08:00

Ode ao Cinema.

EL MÍNIMO GESTO
ELLES, ILS, ELLE, IL, TU, JE

Rouch.

2010-11-18T03:00:00.000-08:00

Obituary: Jean Rouch

James Kirkup

THE CREATOR of at least 120 documentary films, all remarkable, the great French cineaste Jean Rouch and his works are known and appreciated by a select few among all the "fans" swarming to wallow in the latest trilogies of this and that. Though since my film-club youth I had always been enthusiastic about documentaries, it was not until June 1996 that I experienced the revelation of Rouch's incomparable cinematographic art at the Galerie du Jeu de Paume in Paris.

He was then in his 80th year, just one year older than myself, and this encounter with an unknown fellow spirit was one of the great events of my old age. The prospect of soon becoming an octogenarian filled me with excitement when I saw Jean Rouch's tall, upright figure and handsome face. It was the first of several sightings, mainly in the streets of Montparnasse and at the cafe known as Le Bal Bullier.

At the age of six, Jean was taken by his father, director of the Musee Oceanographique in Monaco, to a cinema in Brest showing Nanook of the North, Robert Flaherty's 1922 film about life in an Eskimo family. The next week, his mother took him to see Douglas Fairbanks as Robin Hood. The future film-maker was born under the twin stars of discovery and adventure.

In his youthful student days, back in Paris, he haunted cinemas and joined the circle of devotees organised by the future director of the Cinematheque Henri Langlois. However, in 1937 he entered L'Ecole des Ponts et Chaussees to train as a civil engineer. One year after the defeat of France in 1940, he managed to make his way to the West African state of Niger to construct roads and bridges.

It was there that he first succumbed to the fascination of traditional native rites. An elderly Sorko woman set out to purify the souls of 10 workmen struck by lightning - "a truly marvellous but horrifying ceremony", Rouch was later to recall -

and from that day on I realised that such an event could not be conveyed in writing or in photographs; it could only be captured on film, in colour and with sound.

In that great retrospective at the Jeu de Paume, I was entranced by the early works of what he called his "visual anthropology" from his first visionary masterpiece, paid for out of his own pocket, Au pays des mages noirs ("In the Land of the Black Seers", 1947), in which with a few friends he descends the Niger from its source to its magnificent espousals with the ocean.

By a miraculous concatenation of circumstances - through his fellow writer/ ethnologist Michel Leiris (whose L'Afrique fantome, 1934, had been an inspiration) and a joyous troupe of jazz fiends fired by black African rhythms - the film was brought to the bemused attention of the newsreel director of Actualites Francaises, who decided to schedule it, conditional upon the addition of commentary, music and the insertion of a few supernumerary indigenous animals, which gave what he considered was a suitably "colonialist" stamp of authority. The commentary was enthusiastically declaimed by the regular racing-cyclist authority on the Tour de France. Rouch rejected the result, though he accepted it as "a lesson in how not to approach the montage of a film".

His real entry upon the cinematic scene came one year later when Henri Langlois organised "A Festival of Forbidden Films" with the help of Jean Cocteau at Biarritz, where in 1949 the film that was awarded the Grand Prix du Documentaire was Rouch's ultra-realistic La Circoncision ("The Circumcision"), along with his Initiation a la Danse des Possedes ("Initiation to the Dance of the Possessed"). Rouch then composed a thesis on rituals of possession to accompany his film Les Maitres fous ("Masters of Madness", 1955), which was severely criticised for its "lack of objectivity" by certain academic ethnographers.

He was just as disrespectful of the current views of what "quality French cinema" should be with his preceding masterpieces Yenendi: les hommes qui font la pluie (Rainmakers, 1951), Cimetiere dans la falaise ("Cliff Cemetery", 1951), and Batailles sur le grand fleuve ("Battles on the Big River", 1950) - all three of which were later combined into a full-length feature entitled Les Fils de l'eau (The Sons of Water, 1958).

Jean Rouch's fame was spreading among film fanatics after he received the Venice Festival Grand Prix in 1957 for Les Maitres fous. In 1958, inspired partly by Jean Genet's 1958 play Les Negres, he made Moi, un noir (I, a Negro, 1958), which won the Louis Delluc Prize. His work had already attracted the young intellectuals and influenced the first films of the nouvelle vague including some who were to achieve fame and fortune - Claude Chabrol, Jean-Luc Godard, who was the first to welcome him to the select band of the New Wave film-makers, and the philosopher Gilles Deleuze.

"Cinema verite" was one of the terms used to express the realism of "cinema truth", a term invented by Rouch himself. It reached its full expression in a film he made in collaboration with the young sociologist Edgar Morin in 1960, Chronique d'un ete (Chronicle of a Summer, 1961), a work of radical originality set in the period of Algerian decolonisation and created entirely in the streets of Paris by means of a hand-held camera with synchronised sound. New technology had made cinema verite more than ever true to the truth.

Jean Rouch at 86 had lost some of his youthful energy but none of his wit and enthusiasm. With another great film-maker still not subdued by the constraints of old age, the veteran Portuguese master Manoel de Oliveira (a Firbankian nonagenarian), he made a film in Oporto centred on that city's Pont Eiffel, based on a poem d'Oliveira had written as a script.

En une poignee de mains amies ("In a Fistful of Friendly Hands", 1997) was a symbolic return to his first employment as a builder of bridges - he who built bridges of the creative spirit between blacks and whites all over the world. And whose final bridge was crossed in a car crash in the night in his preferred province, Niger.

Jean Pierre Rouch, ethnologist and film-maker: born Paris 31 May 1917; Director of Research, Centre National de la Recherche Scientifique 1966- 86; General Secretary, Cinematheque Francaise 1985- 86, President 1987- 91; married 1952 Jane George (deceased), 2002 Jocelyne Lamothe; died Konni, Niger 18 February 2004.

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Cimetieres dans la falaise (1951)

Les Maîtres Fous (1955)

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for more: http://www.sufriedrich.com/

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