COPOLLA, is that you?

a commentary




I couldn't believe it's happening.

Francis Ford Coppola, a cinema giant known for his greatest contribution to cinema The Godfather (1972) , posted a video on YouTube.





I didn't see it coming. And i am still laughing now.

For some reason the idea of an artist (a director in this case) and his solitary role as the maker of art is purged by the so-called interconnectedness in modern society --- the Internet. I cannot point a way to describe it, but basically the thought of an artist being a solitary human being was raised by my college writing instructor as she defines the role of a writer.

What makes isolation important? In film, there is a question of distance. Film making, as we know, is a cathartic, technical process. A collaborative type of art wherein the attribution of 'the artist' is still unresolved not until French New Wave break in fifty years ago. Critic of Cahiers du Cinema during the late 1950s attempted to resolve this problem of attribution by placing the Auteur Theory as theoretical framework for the analysis of films on world stage for criticism.

Auteur theory has a bounded function - to attribute 'the artist' title to the director of the film. This attribution is based on the consistency of 'style' on the films directed by these so called 'artists of cinema'. The theory still survived until now. The title of 'auteur' can be the highest possible honor that a director can achieve. Famous auteurs includes melodramatic Steven Spielberg, the women(feminist?) director Pedro Almodovar, the master of suspense Alfred Hitchcock, the poetic Abbas Kiarostami, the meditative Bela Tarr, and many other names that may rang up your minds.

Directors as artists, in the auteur context, are prone to the penal description of the ISOLATED BEING. We want artists as artists, but not as posers. yes, we might be curious to how they make art or what concept they might have in mind or their opinions about the richness of their style. All of this can be much achieved through an interview, a dyadic communication with questions of specificity. But this does not break the shell intended to protect their isolated image.

To break the shell is to let in every possible interaction between the community and himself. This may have positive results like a deeper connection with the audience, to let a possible discussion or criticism. However, this depict an artist as a public figure almost at a celebrity level.

Isolation enables the artist to function as an omnipotent being, unreachable, much like a auric god. The only interaction involved is the audience and his work of art. An artist must exist in his art and should be depicted through his art to attain authenticity as the maker of the art.

His function does not involve depicting him as himself. this might destroy this connection, and may lead to a probable depletion of his authenticity as the maker.

I cannot imagine Coppola grasping a camera and talking about his recent film, Tetro. It diminishes his auric image as one of the great directors and it levels him to other Internet passe.


That's all for now.





Weekend: Kiarostami, Wushu and Science Clubbing

a hodgepodge post

[photo credits to wsws.org]




Friday night is a post celebration for my extravagantly dumb anniversary. It is a mix of Cubao Expo, BK and a Blizzard at DairyQueen Food Court, Gateway, Araneta, Cubao. I was carrying a 7 kilogram load stuck on my bag. Imagine carrying two film books, a 2.2-kg laptop, a century-old notebook for sporadic thoughts, and a smaller notebook (almost a notepad) for alien thoughts. With a friend of mine, we hooked around Araneta: visiting every Art Galery in Cubao ex, meeting old places like Pablo's Gallery where the gallant Mr. Baka resides.

Anyway, I arrived home at around 9 PM exhausted and still wrote this hodgepodge for the benefit of my friends and enemies (do i have one?)



FILM LINE-UP
for the weekend

For weekend, I want to explore Kiarostami and Angelopoulus:

1) Taste of Cherry (Kiarostami, 1997) - Friday night
2) The Wind will Carry Us (Kiarostami, 1999)
3) Eternity and a Day (Angelopoulus, 1998)

Secondly, for a new screening, Oumane Sembene is in on my line up, a dance for that:

4) Moolaade (Sembene, 2004)

And some couple of pertinent films over the history of film,

5.) Knife in the Water (Polanski, 1962) - full-run [see screenshots]
6.) Michael (Dreyer, 1924)




WUSHU

On Monday, my 'speech' friends will conduct an interview on a 15 year old WUSHU gold medalist, Chelsea Bernasconi. She's really a great athlete. I hope we can make it worthwhile.



SCIENCE CLUBBING


Meeting at National Office for serious org work tomorrow Saturday. Gosh! Am i prepared for this?
Note to self: No pressure! No pressure! It is only a nationwide activity involving smart kids grilled over a battle-of-the-brains olympiad, it is really easy you know. Shrug it off, Adrian! The pressure is really overrated.
I LOVE PSYSC!


--- finally to end the post here!





OUT OF ROADS

a reflection

Before the tides turn, i just wanna greet my blog HAPPY Anniversary. I also opened another blog.

I am filled with so much spirit, everything is so peaceful and i want to share this song to you:


Out of Roads - veepee pinpin



OUT OF ROADS
[permalink]
Music by: Arnel Dc Aquino sj . Lyrics: Johnny Go sj
Arranger: Arnel Dc Aquino Sj . Performer: Veepee Pinpin

I just run out of roads again
Don't know where to turn
I started counting stars again
Then I lost my way

I just ran out of time again
Will I ever learn?
To stop my chase of hours again
Only to learn I've lost the day?

The last thing I need
Is to hear this whisper in the wind
The last thing I want
Is this voice that rises from within

I'll need to go home soon, I know
But maybe tomorrow, not now
When the last thing I need here and now
Is the lasting need for You

I've been rushing out of rooms again
Too afraid to stay
I've been dreaming of some rainbow's end
But the colors melt away

Should my heart be like an open door
Helpless to the storm
Permit Your wind to touch my soul
Only to leave this aching song?

The last thing I need
Is to hear this whisper in the wind
The last thing I want
Is this voice that rises from within

I'll need to go home soon, I know
But maybe tomorrow, not now
When the last thing I need here and now
Is the lasting need for You

The one thing I need
Is to hear this whisper in the wind
The last thing I want
Is this voice that rises from within

I need to go home soon to You
Won't wait for tomorrow, right now
Is this haunthing need for You
This haunting need for You


HAPPY ANNIVERSARY AUDITOIRE!
You're a good keeper of my voice.

Let us leave the past with this video from Six Feet Under, my all-time favorite American TV Series:




I just want to celebrate LIFE!


Let move ahead, shall we?

....

La Maison en Petits Cubes

something to watch

[winner: 2009 Oscar's Best Animated Short]


Something to treasure. Something essentially great. Something to live by.



La Maison en Petits Cubes
Uploaded by andybe29




Have a great Ash Wednesday.

As a Catholic, one must endure the penance of fasting today.

Ciao!

Toasted [2008]

a short commentary



[video credits to Mike Celona's MySpace Video Profile]
[you can find him at his website, or his youtube channel]




Toasted





Mike Celona made my weekend complete. It could have been that my weekend would composed only of Hitchcock, Polanski and a little dash of shorts from the Pixar studio but Celona broke the ice. The truth is i haven't found any clarity or peace with my weekend line-up of films, no offense to both directors. As usual, a rush of curiosity brought me to Senses of Cinema again to check their link list.

I had shivers from caffeine addiction and it must have brought the defective concentration on carrying out my study goal for tonight: to make notes on my Engineering Science subject. I just dropped over Senses of Cinema to break the ice. But then i end up with the film site FLICKER.

In search for something eventual, perhaps (in terms of my current interest on long unbroken shots) something 'poetic', i retraced my deep affection back to the aesthetics of experimental cinema.

Mike Celona took me there.

Toasted is considerably a figurative filmic exposition quite reminiscent of Krzysztof Kieslowki style: a deep focus on metaphoric elements, as in this case, a champagne glass.




In a particular scene in THREE COLORS: BLUE (1993)[shown above], Kieslowski effectively use a superimposition of two images displayed on the frame. The foreground shows a less focused image of blue beads superimposed on the middle ground where our heroine, Julie achieves a meditative look. The blue-beads inherently reflects Julie's inner subconscious, a style of Kieslowski that i admire.

Toasted significantly imposed this style but established a wider, more lyrical superimposition. The superimposition of the champagne glass to the moving background, possibly Parisian life, suggest that there is a world beyond the screen. it unfolds in a dramatic, subtle and contemplative way by using a digital rotation very rarely attempted in video but a established technique on feature films.

On my sudden concentration on contemplative cinema, i might consider this as a higher subordinate: an example of contemporary contemplative video art.

----



KNIFE IN THE WATER [1962] Opening Scenes

[screen shots are viable for film analysis.]




KNIFE IN THE WATER (1962)

Roman Polanski

Poland circa 1962
94 minutes
B&W
1.33:1
Polish






Polanski's films are rarely out of the market around here. Well, perhaps it's because of the lesser or rare occurrence of Criterion Collections. I got lucky. i found this from a bargain in front of the Arts and Letter library. I played the DVD and stopped after 9 minutes to watch the short films of Polanski included in the 2-disc DVD set.

I'll watch this maybe later tonight if nothing pops out on my schedule.

Saturday are for movies exactly!


La double vie de Véronique [1991]

[photo credits to David Bordwell's site]




Veronique and the crystal ball.
Is she looking at her world,
or her other world?




In works well if poetry manifests in cinema.



La double vie de Véronique (1991)
Krzysztof Kieslowski

France circa 19991
93 min
1.66 : 1
Polish/French


Un Homme qui dort (A Man Asleep) [1974]

a commentary


[video credits to Mubarak Ali's Supposed Aura and arcilsota]
[photo credits to Jack on Cinema talk; read Jack's review on the remarkable, poetic film]



BEFORE anything else,




A Man Asleep [Georges Perec & Bernard Queysanne, 1974]

.
.
.
.

Alienation.

.
.
.



.
.
.


To isolate oneself.

.
.
.


To detach.



To feel one's existence through a second voice.
.
.
.
.

Speaking and reaching out.

.

.
To believe...
.
.
.
.

... an empty life and...
.
...nothing more...
.
...nothing less...
.
.
.
.


.
.
.
.



REFLECTION: I began my February 18 just like this, just like what happened to him, alone and doleful. As if my whole life is embodied in small moments, carefully formed in packets of time, stretched out through centuries, through the years and months of reveries, through the wide angling trees, through the winds and the skies and seas... Everything seemed lost... Everything is there but lost... Everything is lost

.
.
.
... But i felt happiness instead...

LET GO of EVERYTHING

a reflection


Everything:

my analysis on Bad Education (2003),
my thoughts on avant-garde cinema,
my notions on film criticism,
my cinephilic desires on Psycho (1960),
my half-baked contribution to UNSPOKEN CINEMA
my screen shots on MEMENTO (2000), UGETSU (1953), and LUST, CAUTION (2007),
my sample letter of condolence,
my YM Conversations with pertinent people,

just about everything of my past two months of work got deleted.

The thing is i cannot blame somebody. I may have blamed the person last night who was using my laptop. He might have mistaken the folder and deleted it. I may have blamed myself, but i should not, and i say it plainly like that without reason. I wanted to look at this as something of great value. It's always been like that, when you lost something, you grieve a lot or sometimes little. But then you end up letting go of the person or the thing. Maybe with this loss, as what Nietzsche said, i can generate wonderful things. If you ask me how, i don't really know. But then it always has to start from a beginning.

Beginning is when one forge another path. One must bathe himself with light, a luminating incandescent light. This is to renew oneself, and to shed darkness from the soul. Everything has to start with a new self. It is as though a scene in my favorite film depicts what i feel today. Bagheri, the main character of Kiarostami's masterpiece A Taste of Cherry(1997), says: "It's longer but a better more beautiful way."





It fits perfectly, the lines, the scene. Films like A Taste of Cherry made the audience contemplate. It treat the audience as a whole being, human and true. As oppose to conventional Hollywood film making nowadays, when the audience's perspective is manipulated by riveting melodramas(almost at soap operatic levels) to subjective shots of serial killers, in reference to Alfred Hitchcock's PSYCHO.

In anyway, I have moved on. I slept and moved on. I made this post to mark that transformation and to assure myself that, whatever the meaning of this, perhaps a happenstance can lead to many possibilities, good possibilities.

:-D


Satantango [1994]

a short commentary

Bela Tarr, a Hungarian director, a large figure in contemplative cinema, is Unspoken Cinema's feature for it's new issue this coming summer. I won't be able to give a contribution because i have never seen any of Bela Tarr's masterpieces. Satantango is his best feature and critically acclaimed for it's epic scale and realistic tone. It unbelievably runs for about seven and a half hours, a colossal feat that i have not experienced.

Asian distribution of the film is low. in fact, IMDB reports that it has only been shown in 7 countries:

Hungary
8 February 1994
(premiere)

Hungary
8 February 1994
(Hungarian Film Festival)

Germany
18 February 1994
(Berlin International Film Festival)

USA
9 October 1994
(New York Film Festival)

Netherlands
22 December1994
(Amsterdam)

Canada
8 September 1995
(Toronto Film Festival)

Greece
9 November 2002
(Thessaloniki International Film Festival)

France
9 March 2003
(limited)


I am anticipating for a DVD release by November this year.

Anyway, I just want to celebrate with all contemplative cinema enthusiast out there:

HAPPY 15th Anniversary for Satantango!

Here is the opening of the film. Quite a masterpiece!





Ciao!

Thrills, Chills, and Uhmmm I don't know

updates






Screening for weekend:

1.) Psycho (Alfred Hitchcok, 1960) - self explanatory (duh!)

2.) Michael (Carl Th. Dreyer, 1924) - apparently one of the earliest queer films

3.) Knife in the Water (Roman Polanski, 1962) - first feature film of Polanski, can't wait! It is considered as one of the best debut films of a director, alongside with Orson Welles' (1941), Francois Trufaut's Citizen KaneThe 400 Blows (1959), Jean-Luc Godard's Breathless (1960)

-------

Reading list to fulfill my cinephilic desires, mostly on traditions in cinema:

1.) French Film: Text and Contexts edited by Susan Hayward and Ginette Vincendeau

2.) Italian Film by Marcia Landy

3.) Third World film making and the West by Roy Armes

-------

Events, parties, meet-ups to fill gaps of time:

----Friday night is U.P. Fair with some very close friends.


Ciao!

LUMIERE 2 - Sometimes my Life Gets Hard

updates and reflection


Just this afternoon, a complex scenario engulfed me. Thank God I survived. With everything running to and fro, papers to pass and group homework to finish, i figure i need a breather. So I slept at six o'clock in the evening and woke up at around eight to eat dinner at Rodics.

I want to escape.

Watching my world spin while walking along Beta Way, i asked for answers. I asked a question so consuming i stopped and thought about it. In my own words, i whispered: "Why am I here doing these things? Why am I here?" Of all questions, this was the only sane and real thing that popped out of my head. It was as though a calling for a grander life.

I always find myself philosophizing inevitable truths and sometimes i deny the existence of such truths such as love or chastity. It heartbreaking to speak, upon walking alone on the path with the gentle wind brushing on my face, a question I find most relevant of my own life. It is as if I question my existence here and now.

But i slept it off.




LUMIERE 1 - CINEMA 21: LOVE

photo experiment and love thoughts



Technique: 15-step interval shots, establishing emphasis on a single element.


You are a love...

...that I can never hold on to.


But I tell you, you are special to me...


...in some mysterious ways.


Life is...
...short.

I have to believe...

...that happiness is encapsulated in small moments...

...like when we sat on a bus...

...with your skin touching mine.


Love does not exist solely for the reason...

...of finding happiness in both ways...

...to you and from you.

I'm still holding on to you...
...even when i think it's not right...


...even when everything is uncertain...

...even when i know i will be hurt...

...i still hold on to you.

For I always know...

...whenever I feel your presence...

...whenever you brush your hand on mine...

...I am happy.

Life can be so short...

...I have to cherish small moments like this...

...even if they do not last forever...


Love exists...
...in a short time...

...you do not even know it's there...

L

FEBRUARY IS LUMIERE MONTH

something to read





As you might know, this blog is so ancient it survived a year in existence. YES! It's anniversary month for AUDITOIRE! So i was thinking of a name to call "February" ultimately related to cinema. Anniversary is something like a new beginning or whatever. In connection to cinema art, it started with the Lumiere brothers.

They made their first films, probably first films in cinema premiered publicly last December 28, 1895. view below:



Lumiere brothers, namely Auguste and Louis, are famous for 'inventing' cinema. however, this distinction is not only exclusive to the two geniuses but also to other earliest filmmakers: Eadweard Muybridge, Etienne-Jules Marey and Ottomar Anschütz.

1895

The beginning of cinema: a new beginning for AUDITOIRE. I was planning to conduct a small contest but it would be too hasty and i have no contacts from other bloggers except for some. Anyway, i have no other cause but to continue blogging. I have other plans.

Anniversary is on February 23. I'll celebrate it with my dorm mates and myself. I'll buy a cake and maybe throw a party at my room with nude girls dancing, confetti, and a disco ball and do the TRAVOLTA dance, as in SATURDAY NIGHT FEVER(1971),


I would love to do that! it's quintessential for cinema!

Enough of dreaming!

It occurred to me: How am i gonna celebrate my February 23? Any thoughts?



MEMENTO




MEMENTO (2000)

Christopher Nolan

US circa 2000
113 minutes
Colored
2.35:1
English


I lie here not knowing how long...

...I've been alone


How can i heal?


How am i supposed...
...to heal if ...
...i can't feel time?


I have to believe in the world...
...outside my mind


I have to believe that my actions...
...still have meaning.


Even if i can't remember them.


I have to believe that...


...when my eyes are closed ...


...the world's still there.

do i believe the world still there?

is it still out there?



UGETSU


UGETSU Monogatari (1953)

Kenji Mizoguchi

Japan circa 1953
97 minutes
Black and White
1.33:1
Japanese



"It is a formal style, but not a formalist one, and the astonishing visual beauty of Mizoguchi's images never deadens the power of his human drama, or his sense of outrage against oppression. The supreme demonstration of his method is the scene of the murder of the heroine in Ugetsu, staged in long shot: the wounded Kinuyo Tanaka, stabbed by bandits in a quarrel over food, crawling away in the foreground, while, in the distance, the thieves squabble over the food they have robbed from her. In its juxtaposition of high tragedy and intransigent physical realism, the scene deserves the adjective Shakespearean." - Alexander Jacoby

xoxo