Sunday, May 25, 2008

why sometimes the images begin to tremble

The subject of their contemplation - whether intense (Vite, Acéphale) or seemingly in passing (Chromo sud) - originates in the period surrounding May '68, but perhaps the most striking intersecting feature is the (at times, unnerving) intensity of the expression, the materialisation, the performance, of emotions - contempt or radical solidarity, disillusionment or hope, boredom or rapture - that emerges in these Zanzibar films and their close cousins. Daniel Pommereulle's enigmatic severity in Rohmer's La collectionneuse is transformed into a near-Artaudian rage in Vite, which invokes bodies - human and celestial - toward nothing less than a reorganisation of civilisation itself. Pommereulle spits and hisses at the camera, creating a sensory vibration that is, at the very least, equivalent to the bleeding montage of Etienne O'Leary's Chromo sud, or the handheld-camera-in-action in Pierre Clementi's The Revolution is Not Over, Let's Continue Fighting, or the interplay of light/dark, extended silence/call for revolution in both Détruisez-vous and Acéphale.


Blogger Mubarak Ali said...

(1) Caroline de Bendern and Juliet Berto in Détruisez-vous (Serge Bard, 1968), the first Zanzibar film
(2) Daniel Pommereulle and Mustapha in Vite (Pommereulle, 1969)
(3) Patrick Deval, Jackie Raynal, et al, in Acéphale (Deval, 1968).

video excerpts:
(1) A Grin Without A Cat (Chris Marker, 1977)
(2) The Revolution Is Only the Beginning, Let's Continue Fighting (Clémenti, 1968)
(3) Chromo Sud (Etienne O'Leary, 1968).

12:12 PM  

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