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Disgrace by JM Coetzee

DISGRACE

From the time I could read some of the laureate Coetzee , I felt that most of his novels, if not all their work, may be condensed together, present on a single. The author's prose works Africa as a war correspondent, a reporter, as a literary traveling shows the status of Cape Town, even, why not, a South African living between two times . Analytical novels Coetzee writes described in an almost unconscious trance experienced by the author's homeland.

In Disgrace, Lurie David is a university professor of 52 years who has two failed marriages and who sleeps with a student, Melanie . Among other things, Lurie tells Melanie " The beauty of a woman does not belong only to her. It is part of the richness it brings to the world, and his duty is to share it." When it comes to light, the teacher will be in the midst of a situation that exceeds: apologize in public or leave teaching. However, this leaves the university in the midst of scandal and decide to move to the countryside with her daughter Lucy . There you will find several well-defined characters such as Petrus, resident and assistant to his daughter or Bev Shaw. One afternoon, three men enter the house of Lucy and then set fire to her father raped her. The result of this violation, Lucy get pregnant.

Lurie, after the scandal to surface, is justified by an uncontrollable desire , inexplicabe and very intense. The men are reflected in an almost animal: Lurie is a man who is moved by their sexual desires and finds a haven in carnal pleasure, hence his passion for prostitutes as Soraya. Remarkable is that in the novel there is a nearly ubiquitous presence of animals, namely dogs. David Lurie has lived like a dog.

In a society that repentance and forgiveness should be public humiliation, in a society where language has become a dirty, unclean and perverted what is left? Is not this a sign that society begins to make water?

When Lucy , animal lover, independent and asexual , a victim of rape to the police decide to report only the theft of the car and various material elements house (somehow, Lurie feels bound by the parent-child relationship). His father, a former scholar, does not understand: " can not get in my situation." Thus, the father appears as a disturbance in the balance and peace of Lucy .

At some point in history is found to Petrus, a character who manages to raise an unprecedented Lurie revulsion and that it transmits to the reader, father of one of the rapists. Nobody says anything, "all has been a 'mistake ' but now things are fine."

Why

Lucy not report the rape? Lucy, a white woman is the victim of two times: he has to pay for the mistakes of whites in the past. You must pay for all the atrocities they did to blacks. Now, to balance the scales, the violence has a justification . It is here in this figure, where Coetzee is to think again about apartheid.

Lurie, far away and not only to understand but to accept what is happening, decides to escape somehow engaged in various tasks such as working as assistant in a clinic where they kill the stray dogs are young, old, lame, or writing an opera about Byron's life and a woman named Teresa. David is no longer an old man unable to change, and no choice to take her daughter's decision not to abort (the first time it did, this time not willing to go through it)

Lucy assumes that he has to live with the rapist and say nothing: "I'm ready for whatever, for any sacrifice, in order to get peace."

This closed society, rural, sexist, racist, hypocritical and providing protection a criminal may not be so far from a reality that can be seen in this country. Are we required to pay for the mistakes we made? Is it justifiable hatred and violence for damages?

Peace yes, but not at any price.

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The profit motive and the whispering Wind (2007) John Gianvito

The long memory is the MOST radical idea in America. Claire Spark Loeb.

I must confess that until the Gijón Film Festival in 2008 premiered the documentary experimental teacher American filmmaker John Gianvito, had only seen his name on the list of 1000 best movies in film history, by Jonhatan Rosenbaum. Gianvito appeared on this list with your first and last film The mad song of Fernanda Hussein (2003).

Lasting just 1 hour with The profit motive and the Wispering wind, John Gianvito invites us to make a historical journey, chronological visiting graves, monuments, tombstones, statues, belonging to activists linked progressive movements of the U.S.. USA: Fight for the rights of women, immigrants, African Americans, Latinos. Gianvito films these places with your camera 16 mm with respect and patience, no voiceover to guide visitors to the cemeteries, the only information comes from the inscriptions on the monuments fúnebres.Un respect Srtaub reminiscent of the texts they choose.

From the tomb of Anne Marbury Hutchiman (1591-1643) to Dorothy Day (1897-1980). Gianvito focuses on 500 years of America's recent history, which took as starting the book of A people history of the United Sates of Howard Zinn.

chorus as if it were a filmmaker, sandwiched between tomb and tomb, a series of images of nature: leaves of trees buffeted by the wind, the sun through the branches. These images create a beautiful and poetic impact, the camera views from the solemenidad of the gravestones, to the branches and treetops that are flapping in the wind.

Believe it or not, there is life beyond death. Even in a more materialistic level, there is an energy in the soil and trees, is a spiritual cycle that connects the images of the wind with the stones of the graves (1) .

And is that John Gianvito's proposal has many similarities to the cinema of Straub, Trop tôt, trop later (1982) and Forti / Cani (1976) in which may sensitize the viewer and direct their attention to what happens in a piece of nature whose story is captured transversely [...] that show the history of our century and its massacres (2).

The idea of \u200b\u200bcircularity deriving energy just in the last few minutes in a climax, on the basis of documentary montage of demonstrations outside today, to the rhythm of percussion, against war, against terrorism. Gianvito seems to say that the rights and freedoms we enjoy now, we owe to all those activists and heroes who fought for them. This exercise of historical memory Gianvito are not didactic but that seems to share the epitaph of the Emma Goldman's grave "Liberty Will Not descend to people, to raise Themselves Must people to liberty.

1. Interview with Fernando G. Varea http://espaciocine.wordpress.com/2008 / 12/24/john-gianvito /

2. Aumont Jacques, theories filmmakers, film Paidós Communication 155. Pag 83

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Question of Faith (2): The Offret (1985) Andrei Tarkvoski

THE ALEXANDER SLAUGHTER

Death tends to make the last work of an artist at will as if of a rule in question. But, really, for a work to be testamentary, you must have a willingness and intention to close because they have the knowledge or be glimpsed in a way that the end is near. After completion of Sacrifice, a Tarkovsky you diagnosed cancer, which led to his death in December 1986. Noteworthy is that the character of Alexander , played by Erland Jospehson , which originally was to suffer a cancer in the film, but ultimately be modified. Sacrifice becomes a mysterious projection of the future and not only in this aspect but also on the stairs where he recorded the scene of Revelation, was assassinated in 1986, the Swedish president Olof Palme . Although Tarkovsky unaware that the illness suffered during the shooting, probably experienced a feeling that the end was just around the corner: his time was running out, ie, it was time to end the cycle. How is it possible but the top of your first film Ivan's Childhood (1961) begins the same way that ends what would be his last movie? That is, with a child and a tree. The true artist is always ahead of the target.

The core of the film based on the idea for a screenplay called "The Witch", which Tarkovsky began writing in 1981 while he was taking Nostalgia . In this scenario, the character of Alexander suffered a cancer cure by sleeping with a woman who was reputed to possess supernatural powers.
In Sacrifice, Alexander character is a retired actor, journalist, philosopher and scholar, who will celebrate their fiftieth birthdays during the day when you start another Great War.

Alexander promises to God all you have if this stops the fight that has burst. Otto, the postman , close friend of Alexander, tells this that there is a chance to end the war: it is that you go to bed with Mary, her maid, to his home. Alexander sleep with her one night and the war ended. Alexander, fulfilling the promise he made to God, burn your house and leave his family . The consequences of this act shall be considered a madman .


What we try to say Tarkovsky with an argument as crazy as this? What's behind the Alexander Sacrifice? Michel said
Foucault in democratic centuries, men rarely sacrifice themselves for each other, but show a general compassion for all members of the human species (1). The act carried
Alexander, like Dominico in Nostalgia (1983), can not be understood rationally , as it moves in the coordinates of faith. Alexander want to sacrifice to try to change the destination contemporary, fleeing the conformism and passivity about the situation just explode, and decides to act: he resigned to their property and his life for others. Tarkovsky said only when we know we are prepared to sacrifice we can have some influence on the general course of life, there is no other way. The price is inevitable, our material welfare (2). Alexander, monk like the story he tells his son at the beginning of the movie, believe in the validity of the act and the possibility that change the course of history. It boils down to a question of faith. The son of Alexander seem to learn the lesson of his father and continue watering the tree until it returns to green, live, although this act is presented to us as impossible. Because what matters is the belief and perseverance.


Sacrifice has always been considered a film with influences " Bergman." This is because the film was shot on the Swedish island of Gotland where Bergman spent long periods, since much of the team that collaborated in the work of Tarkovsky had worked with the Swedish master. The most important is the collaboration of cinematographer Sven Nykivist , usual charge of photography on the films of Bergman , from which in 1953 participated in Circus Night. Sven Nykivst got to adapt to the style of Tarkovsky with very general plans and long shots where the camera never stops moving, doing long and endless tracking shots and pans and give it the image a unique visual texture. is not the number of lights making a film is impressive . Just the opposite, you can create the atmosphere with as little light as possible (3). Tarkovsky This statement neatly sums how to work the Swedish photographer, who always preferred a minimum of light and color and maximum image contrast.

Sacrifice is the film in which the Russian director has further their stylistic conceptions of "sculpting time." Noteworthy is the wonderful final scene in which Alexander after performing a ritual, set fire to what is most dear to him: his home. Alexander runs from one side to another to escape the hands of psychiatrists with cries of joy because he knows that his act will count for something, but in the eyes of his family has become a madman. Tarkovsky's camera traveling on a long round and retrace the character while the house is engulfed in flames. A traveling , which as stated Chris Marker: the tracking here is no longer a moral issue but metaphysics (4), thanks to a meticulous planning and choreography devised by Andrei Tarkovsky and continuity plane of the four elements: wind, water, fire and earth, so present in all the films of Russian director and will make its appearance in the sequence. Carlos Losi is absolutely right when he says at the bottom the true Tarkovsky what you like filming is water, clouds, land and bodies, and from them the importance . But only from them.

. (1) Michael Foucault, Discipline and Punish .
(2). VV.AA, about Andrei Tarkovsky. Jaguar Ed.
(3). Rafael Llano , Andrei Tarkovsky: life and work of the Government Film (2003), Vol II, p 683.

(4), Marker, Chris , Une journée d'Andrei Arsenevitch (2000).