domingo, 29 de dezembro de 2013
« J’ai dit un jour que Louis Lumière avait inventé la télévision, et pas le cinéma. Ce n’était pas une blague. Ses opérateurs faisaient dès les années 1910 de la publicité pour une marque de savon, et ils allaient projeter ces petits films à domicile. Mais la meilleure preuve que cette théorie tient la route, c’est que ce qu’on appelait jadis le public populaire, celui qui fait vivre les films et les personnages, c’est devant la télé, et nulle part ailleurs, qu’on le trouve aujourd’hui. Si j’étais cinéaste, c’est à lui que je m’adresserais exclusivement. Dans une salle de cinéma, les spectateurs prennent souvent les films pour de la blanquette de veau tellement il fait noir. Ça n’arrive pas à la télé. Réfléchissez-y deux ou trois minutes, en plein jour. Ça n’arrive jamais à la télévision. »
sábado, 28 de dezembro de 2013
"I know very well that parts of the films are naturalistic, but I try to avoid that. As for the rapport between the actors, I have returned to written scenes with partly improvised dialogue in written situations. In writing my last film, Jealousy, I began to let the actors improvise. There was dialogue for them in order to learn their roles, to define the situations well, but I let them improvise parts of scenes. Now, as when I made films that were too autobiographical, the problem is how to escape naturalism. If you tell a strictly true story, because the way you are telling it is false, it creates naturalism. We improvise as well, and we end up capturing more of real life. There are gushes of unconscious attitude in the situation. But at the same time, I also become a naturalist. And to become a naturalist is something I avoid, in fact. It is fake life—that is the problem. It is because we are familiar with situationnisme, and the critique of the spectacle, et cetera, which is a very fair criticism. People who have no life, and who watch this fake life on a screen—it's a very alienated situation. And that's what situationnisme is about. But I'm not able to completely escape naturalism. It's very difficult to escape from naturalism without being too dry. That's what I try to do in my cinema—escape naturalism and do films that are, at the same time, realistic but have a lot of fantasy. It's very difficult in cinema to get away from what life is about, from real life. The way the actors work has to be realistic—you can't do Baroque acting—so it's very complicated. And, we're human beings, so we're not perfect. I'm trying to do something different, but it's a complicated question."
sexta-feira, 20 de dezembro de 2013
"Tu t'en vas sans moi, ma vie.
Et moi j'attends encore de faire un pas.
Tu portes ailleurs la bataille.
Tu me déserts ainsi.
Je ne t'ai jamais suivie.
Je ne vois pas clair dans tes offres.
Le petit peu que je veux, jamais tu ne l'apportes.
A cause de ce manque, j'a aspire à tant.
À tant de choses, à presque l'infini...
À cause de ce peu qui manque, que jamais tu n'apportes."
"Take another of Raphael's personifications, Poetry [Imagem 1], or better still his ravishing drawing for that figure [Imagem 2]. From one point of view it is a pictorial sign with the obvious and enumerable attributes of the wings, the lyre and the book. But this vision not only signifies Numine afflatur, it also displays or expresses it. The sign limits are blurred. The upturned gaze may still be a conventional sign for inspiration, carried by the tradition of art from ancient times, but the tense beauty of the figure is Raphael's own, and not even he could quite transfer and repeat it, for it may well be that the finished image is a little less convincing as an embodiment of the Divine afflatus though it has an added wreath."
E. Gombrich, Symbolic Images: Studies in the Art of the Renaissance
sexta-feira, 13 de dezembro de 2013
"Alguns se perguntam se o pintor tem necessidade de saber outra coisa além de ver e se servir de sua técnica.
Digo-lhes que seria preciso conhecer tudo; mas, de preferência, saber utilizar o que se conhece.
Vê-se de modo completamente diverso um objeto cuja estrutura se conhece. Não se trata de mostrar músculos sob a pele, mas de pensar um pouco no que está embaixo dela. Isso leva a um questionário profundo. Não vejo senão vantagens nisso.
Mas eis uma observação que faço: quanto mais se afasta a época em que a perspectiva e anatomia não eram negligenciadas, mais a pintura se restringe ao trabalho de observação do modelo, menos ela inventa, compõe e cria.
O abandono da anatomia e da perspectiva foi simplesmente o abandono da ação do espírito na pintura em favor apenas do divertimento instantâneo do olho.
A pintura europeia perdeu nesse momento algo de sua vontade de poder...
E, por conseguinte, de sua liberdade.
Quem se lançaria hoje na empreitada de um Michelangelo ou de um Tintoretto, isto é, numa invenção que brinca com os problemas de execução, que enfrenta os grupos, os escorços, os movimentos, as arquiteturas, os atributos e naturezas-mortas, a ação, a expressão e o cenário, com uma temeridade e um prazer extraordinários?"
Paul Valéry - Degas Dança Desenho
"É a infalível natureza que criou o parricídio e a antropofagia, e mil outras abominações que o pudor e a delicadeza nos impedem de nomear. É a filosofia (refiro-me à boa), é a religião que nos ordena alimentar nossos pais pobres e enfermos. A natureza (que é apenas voz do interesse) manda abatê-los.
Passemos em revista, analisemos tudo o que é natural, todas as ações e desejos do puro homem natural, nada encontraremos senão o horror. Tudo quanto é belo e nobre é o resultado da razão e do cálculo. O crime, cujo gosto o animal humano hauriu no ventre da mãe, é originalmente natural. A virtude, ao contrário, é artificial, sobrenatural, já que foram necessários, em todas as épocas e em todas as nações, deuses e profetas para ensiná-la à humanidade animalizada, e que o homem, por si só, teria sido incapaz de descobri-la.
O mal é praticado sem esforço, naturalmente, por fatalidade; o bem é sempre o produto de uma arte."
"We know nothing of this going.
It excludes us. Faced with death,
what cause have we to respond
with the fear and grief or even hatred
that twist the features to a mask of tragedy?
On this side of death we play roles.
So long as we seek to please the audience,
death, who needs no approval, plays us.
When you died, there broke across the stage,
through the gash your leaving made,
a shaft of reality: green of real green,
real sunlight, real trees.
Still we keep acting: fearful and solemn,
reciting our script, taking on gestures.
But you, who have been withdrawn from us,
subtracted from our very being,
now and again you overcome us,
showing us the reality we glimpsed,
so that for a while, jolted back, we are life
with no thought of applause.
"As I have said, as an anarch I have nothing to do with the partisans. I wish to defy society not in order to improve it, but to hold it at bay no matter what. I suspend my achievements – but also my demands.
As for the do-gooders, I am familiar with the horrors that were perpetrated in the name of humanity, Christianity, progress. I have studied them. I do not know whether I am correctly quoting a Gallic thinker: 'Man is neither an animal nor an angel; but he becomes a devil when he tries to be an angel.'" (Ernst Jünger, Eumeswil)
"The ship is a symbol of temporal existence, the forest a symbol of supratemporal Being. In our nihilistic epoch, optical illusions multiply and motion seems to become pervasive. Actually, however, all the contemporary display of technical power is merely an ephemeral reflection of the richness of Being. In gaining access to it, and be it only for an instant, man will gain inward security: the temporal phenomena will not only lose their menace, but they will assume a positive significance. We shall call this reorientation toward Being the retreat into the forest (Waldgang), and the man who carries it out the wanderer in the forest (Waldgänger). Similar to the term "worker" (Arbeiter), it signifies a scale of values. For it applies not only to a variety of forms of activity, but also to various stages in the expression of an underlying attitude. The term has its prehistory in an old Icelandic custom. The retreat into the forest followed upon proscription. Through it a man asserted his will to survive by virtue of his own strength. That was held to be honorable, and it is still so today in spite of all commonplaces to the contrary.
Wanderers in the forest (Waldgänger) are all those who, isolated by great upheavals, are confronted with ultimate annihilation. Since this could be the fate of many, indeed, of all, another defining characteristic must be added: the wanderer in the forest (Waldgänger) is determined to offer resistance. He is willing to enter into a struggle that may appear hopeless. Hence he is distinguished by an immediate relationship to freedom which expresses itself in the fact that he is prepared to oppose the automatism and to reject its ethical conclusion of fatalism. If we look at him in this fashion, we shall understand the role which the retreat into the forest (Waldgang) plays not only in our thoughts but also in the realities of our age. Everyone today is subject to coercion, and the attempts to banish it are bold experiments upon which depends a destiny far greater than the fate of those who dare to undertake them. The retreat into the forest (Waldgang) is not to be understood as a form of anarchism directed against the world of technology, although this is a temptation, particularly for those who strive to regain a myth.
Undoubtedly, mythology will appear again. It is always present and arises in a propitious hour like a treasure coming to the surface. But man does not return to the realm of myth, he reencounters it when the age is out of joint and in the magic circle of extreme danger. It is not a question therefore of choosing the forest or the ship but of choosing both the forest and the ship. The number of those who want to abandon the ship is growing, and among them are clear heads and fine minds. But it amounts to a disembarkation in mid-ocean. Hunger will follow, and cannibalism, and the sharks: in short, all the terrors that have been reported from the raft of Medusa. Hence it is advisable under all circumstances to stay aboard even at the danger of being blown up. This objection is not directed against the poet who reveals — through his life as well as through his work — the vast superiority of the artistic universe over the world of technology. He helps man to rediscover himself: the poet is a wanderer in the forest (Waldgänger), for authorship is merely another form of independence." (Ernst Jünger, Der Waldgang)
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- « J’ai dit un jour que Louis Lumière avait inven...
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- D. Buñuel
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- "Tu t'en vas sans moi, ma vie.Tu roules,Et moi j...
- "Take another of Raphael's personifications, Poet...
- Trilha do Dia
- (Wundersamer Park III, Bernd Streiter)
- "Alguns se perguntam se o pintor tem necessidad...
- "É a infalível natureza que criou o parricídio e...
- "We know nothing of this going.It excludes us. ...
- "Son verbe ne fut pas un aveugle bélier mais la ...
- "As I have said, as an anarch I have nothing to...
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