Sunday, December 27, 2009

the image will come at the time of resurrection

"Film was projected and everyone saw that the world was there. A world almost yet without history, but a world which recounts. But so that in the venue of uncertainty it establishes idea and sensation, the two great stories have been sex and death." (Godard, Histoire(s) du cinéma: Une histoire seule.)







(Images of Vidor's Duel in the Sun, as they appear in Histoire(s) du cinéma: Une histoire seule.)


"We live in a dilemma that our perception is filled up with image and sounds. There're world and images of the world and sounds from the world. Anyway, the task is to show what people haven't seen yet, or to show what is seen in different way, or to show what they want to show, they're to turn eye's way. Basically the task of cinematography is to show them for the second times... In the past we could trust almost physical relationship between the real object and its image because of its granted through photography. Of course now in visual age, the physical relationship isn't guaranteed any more. But I think it is a mistake to trust only on this physicality of the process of cinema and of photography. In fact, when you can make a documentary, you do two things, to look at the world and to create the image of it." (Hartmut Bitomsky; text as it appears on Daisuke Akasaka's site.)






[Images of Duel in the Sun, as they appear in Das Kino und der Tod (Bitomsky, 1988).]

*** *** ***

"Philippe Garrel creates a liturgy of bodies, because he delivers them to a secret ceremony whose only characters are Mary, Joseph, and the child, or their equivalents. His is not however a pious cinema, although it is a cinema of revelation." (Gilles Deleuze)

"Whether it is a cave painting, an Egyptian statue of Ka, the Colossus of Rhodes, an image in a mirror or an image on the screen, there is always some sort of magical dimension in the image related to desire, to death, to shadows, to doubles, to immortality... It is no accident that almost immediately after after Lumière, Méliès arrived to make the magic of the image emerge from the image of reality." (Youssef Ishaghpour)





...what plunges into the night
is the echo
of what engulfs the silence,
what engulfs the silence
prolongs into the light
what plunges into the night.
Images and sounds
are like people
who become acquainted
on the journey
and can never again
be separated.


(now the tragedy is anatomical...)






"To things and beings in their most frigid semblance, the cinema thus grants the greatest gift unto death: life." (Jean Epstein)





[Images from La frontière de l'aube (Philippe Garrel, 2008) and Coeur fidèle (Jean Epstein, 1923).]

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