For photogénie, I trace a continuity between how Godard represented other filmmakers in his films, and how he controlled the way his own image (and sound and text) was (re)presented in films of other directors. This continuity comes in the form of his dialectical philosophy of cinema, or what he refers to as "langage."
Read the text here: Godard As Presence - A Ghost Obituary.
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See You Friday, Robinson 2022
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Antigone 1992
«هشدار برشت در باب خطرات غیرقابل تصور جنگ‌های آینده، حالا (سال ۲۰۲۲) به یک پیش‌گویی می‌ماند: ۱۰سال پس از ساخت آنتیگونه، سیاستمدار-سرمایه‌داران کنگرۀ آمریکا در «کپیتال هیل»، به بهانه‌ای ساختگی رای به جنگی دادند که دهه‌ها طول کشید و تبعاتش همچنان ادامه دارد. فیلمی که در ظاهر اقتباسی ساده از نمایشنامه‌ای قدیمی به نظر می‌رسید، نه تنها نمای بلند پیچیده‌ای است از تاریخ، بلکه نگاهی تیزبین است به آینده.»
با کمک از مفهوم پالیمسست، درباره ی جایگاه تاریخ و حافظه در چند فیلم استروب و اوییه نوشتم
kokermag.com/criticism-35/
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Safe in Hell 1931
"What are you doing with all the men?"
"Nothing"
"You ain't takin' any of em?"
"No!" -
The Strawberry Blonde 1941
“Hey what’s the name of that number?”
“You know better than I do what’s the name of the thing they’re playing.”
“And the Band Played On… we’ll never have those good times again, Nick.”
“Ah she was a beautiful girl.”
“Who?”
“Virginia”
“Now what made you bring up Virginia?”
“You were stuck on her, ain’t you?”
“Me, na! I liked her, in a nice way.”
“Yeah I liked her too, but I forget which way.”
[beat]
“How long are they…
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Trouble in Paradise 1932
This was made in 1932 for general audiences. What happened? when was America so sophisticated? and how could we have gone so far in the other direction?
Peter Bogdanovich
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Léon Morin, Priest 1961
Emmanuelle Riva as a bisexual commie atheist and Blemondo as a sexy intellectual priest in a film by Jean-Pierre Melville?
OUI S’IL VOUS PLAÎT
