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Praise of modernity. The Straub

What are modern men?

What are modern men?. With this question posed by a child their parents had the adjustment of one-act opera by Arnold Schoenberg, made by Danielle Huillet and Jean-Marie Straub, From overnight (1997). Where lies hidden the modernity of this unique marriage of filmmakers? Its modernity lies not in the pomp and virtuosity of the film image, as in Wong Kar Wai and Michael Mann, or debugging and skeletal narrative film by Albert Serra and Lisandro Alonso, or in the formalism poetic and contemplative Gus Van Sant or Tsai Ming Liang, or use labyrinthine narrative structures and sinister as David Lynch or Teresa Villaverde. Anachronism of modernity lies in its Straub not reconciliation with domintantes forms and fashions, the rejection to the homogenization of the film imposed by the market and critical respect with which they approach the film texts, bodies of the actors who play them, to places that serve as stage for the recitation of words of the verses, the direct sounds of music and nature. In his work the aesthetic category disappear an actor, a tree, a rock, a piece of music or a literary text, they are all equally tered with the same respect. Explicit refusal to get what the film has us accustomed , an idealistic image in which a body is as good as another, an accent can replace another without anything being lost. [1] . A film that, like that of Manoel de Oliveira and Marguerite Duras, we talk and not just full time words, word is filmed in where silence takes its due importance because it was the sound which as we invented it Bresson said.

The Cinema of Straub rejected the show and so accustomed to the banality that we have the cartalera and opposes pornography of espectaularización of reality and the feelings that people on television. Escape the recovery of imáganes and is presented as an act of resistance to the oblivion that is the audiovisual project. A film that shows the desired balance between form and thought . A search pensaminento emerging of complicity and support of the measures transposing: Böll, Corneille, Holderlin, Kafka, Duras and Pavese, with those showing a kind of fetishism and vindication of his works unfinished and rejected. Aware that what adiviertera and Bazin: Film is an impure art.

Jean Marie Straub and Daniele Huillet like marriage Schoenberg's opera that led to screen, refuse to surrender and give in to impulses and external pressures, and have been maintained, despite the death of Daniele, undisturbed and independent.

And as he knew that the Godard film is not that: "Where and why put the camera? where and why to start a plane? And where and why finish it? and this seems so trivial but as elementary education is part of the film Jean-Marie Straub and Huillet Danille. And sometimes " A revolution is also put back some very old but forgotten. [2 ]

[1] Zunzunegui, Santos , "The eyes will not close" Drifts in contemporary European cinema, 2007, VV.AA

[2] Phrase Charles Peguy that appeared in Chronica of Anna Magdalena Batch (1967).

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The meshes of afternoon (1943) Maya Deren

psychodrama and art

Maya Deren was a key figure and pioneer in the American postwar art, but despite this still remains excluded and forgotten in most of film history books, perhaps because of its underground status and be removed from official speeches and classical forms.

The meshes of afteroon (1943) follows his debut after 57 years causing a huge embarrassment and bewilderment, to through images and situations that disoriented and shocked by equal parts. What tells the meshes of aternoon ? Is it a dream? A dream within a dream? "A dream of a true substrate? A nightmare within a dream?.

No one better than the director herself to shed some light on this: This film deals with a person's inner experiences. Not evoke a fact that could be observed by others, but reproduces the way in which the subconscious of an individual develops, interprets and develops an incident apparently simple and casual transforming it into a critical experience. [1]

would not be free at all Maya Deren see in a clear precursor to the twisted world of David Lynch dream, in fact in just 15 minutes The Meshes of Afternoon condenses some constant keys and the director of Montana used in his films, such as labyrinthine narrative structures, environments nightmare and anxiety, personality splits or sinister characters.

Deren's film belongs and initiate a sub-genre, the film trance or psychodrama that has its origin in the figure of Cesare's The Cabinet of Dr. Caligari (1919). Deren continue with the line of psychodrama in his following works At land (1944) and A Study in Choreografic for camera (1945). Inlfuenciado by a European surrealist Jean Cocteau's film Le Sang d'un poet (1930) as a reference system, psychodrama has seriously and clearly transcendental tone that distinguishes it from the surrealism of Deluc Buñuel.

The importance of early Deren's work lies in being a pioneer of postwar American art and the influence they exercise or other films "trance" as diverse as including Fireworks (1947) and Inauguration of pleasure done (1954) by Kenneth Anger , shadows The way to garden ( 1954) and Reflection on black (1955) Stan Brakhage or Markopoulous Gregory works as Swain (1950) and Cristhmas Use (1949).

There is a moment of incredible beauty within The Meshes of Afternoon (1943) that it should be emphasized when Maya Deren looks absorbed through an apartment window relfejado his face in the mirror of glass is surrounded by branches of trees, the pale Deren somehow reminds us strangely random and the character of Flora of the table of Botticheli Spring, and with this simple and beautiful plane is apparent that this importanciade Ukrainian immigrant in the American avant-garde cinema, jumping all industrial conditions, linked directly with the arte.Un cinema cinema-free bonds that is accountable only to the creator.

[1]. Viosca Sanchez, Vicente, 2004, Film and artistic avant-garde: conflicts, meetings and borders, Ed: Continuing Session

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The Chase (1948) Ripley Athur

noir Nightmare

Beset is a work that moves within the coordinates of film noir that manages to create a inquientante and unusual atmosphere, between the dreamlike, mysterious, bizarre, and paranoid. Based on a novel by Cornell Wooldrich (William Irish), Black phat of fear (1944), author known to many as the creator of the work that served as the basis for Alfred Hitchcock Rear Window (1955), and inspiration for other great directors like Robert Sidiomak, Roy William Neil and Jacques Torneur and got some intellectual prestige after Francois Truffaut adapt two of his works, in The bride wore black (1968) and The Mississippi Mermaid (1969).

address Hounded charged to the forgotten and prolific director and screenwriter who gets Athur Ripley develop a disturbing film with an air of nightmare reminiscent of other works in the genre black as Detour (1945) Edgar G. Ulmer or has night thousand eyes (1948) by John Farrow in which the real, dreamlike and fantasy combine to create a delirious and delusional.

The starting point of the film is simple but will gradually blurring. Chuck Scott (Robert Cummings) is a wallet lying in the street and decides to return it to its owner. This act of kindness will lead to its owner Eddie Roman (Steve Cochran) and his assistant, Gino (Peter Lorre), two gangster-tinged picópatas and claims, be hired as a driver. Threatening the sinister and present since Scott first entered the mansion, full of marble statues and disturbing shadows and gloomy amenanzantes that seem to hide something disturbing and frightening, and that is highlighted by the performances of Steve Cochran, Peter Lorre, to endow their characters in a inespresividad that seems to conceal or disguise a wicked personality. Scott will end up in love with the girlfriend Roman, Lorna (Michele Morgan), which he kept in a state of submission and dominance, so that the two devise a flight to Cuba.

When two lovers reach their destination and are created and saved, and able to give free rein to his love, Lorna Scott will be killed and señaldo responsible for his death. Scott began his journey in particular the police trying to prove his innocence, but everything seems against him. When Scott is about to get what exculpatory evidence, we realize that everything has been a dream of mind disturbed Chuck Scott exconvatiente in a war that seems to be suffering from a traumatic experience. But when Scott goes to Davison commander (Jack Holt) Army psychiatrist, a bar to tell his strange dream, Scott believes he has forgotten something important to do, we will then enter the door to Gino and Eddie Roman, Scott recovers memory and remembers That night has prepared his escape with Lorna to Cuba.

as spectators is when we determine that the entire first half was a mix of reality, dream and premonition result of the unstable mind of Scott, but the main trick to play the film is the dissolution and osmosis between these two boundaries, because what at first seems completely unreal and extravagant, as the accelerator pedal Eddie Roman takes seat back of his car, reappears again. And this is without doubt one of the successes with playing this picturesque black ribbon which is influenced by the psychoanalytic trend that appeared in Hollywood in the 40's and that both Fritz Lang (The Woman in the Window 1944), Jacques Torneur ( Leopard Man, 1943) and Alfred Hitchcock ( Remember , 1945) were able to take advantage.

When two lovers reach its destination unscathed porphine after Gino Eddie and crash your car, we conclude that when our dreams have been fulfilled is when we understand the richness of our imagination and reality poverty.

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Lunch Break (2008) Sharon Lockhart

proletarian Travelling

The last film of the artist, photographer and filmmaker Sharon Lockhart American, is without definitely one of the most interesting, bold and daring of the last decade, could disrupt our perception of film images and aprehesión of filmic time and space. This Lokhart

wheel a long tracking shot through a narrow corridor in the Bath Iron Works shipyard, in the state of Maine, while their workers take a break from their activities.

The film consists of a single 83-minute sequence shot where the camera moves very slowly leaving behind the other factory workers who perform the most mundane and trivial activities: eating, reading or conversation. Behind this apparent simplicity and triviality is any act of political and social denunciation, aware that for companies, the rest of their workers is a drop in productivity and therefore profits. Sharon Lockhart decided to record this lull in production work, after more than a year following the activities employees of the factory. That moment of respite and pause is expanded to the limit, creating a sense of temporary suspension, where a moment (10 minutes) becomes an eternity (83 minutes). The method used has no mystery, slow down the image in postproduction.

This idea of \u200b\u200bthe suspension and time dilation was present in some works of his mentor, mathematician documentarian and James Benning, example would be that wonderful plane 11 x 14 (1977) where two naked women fondle on a bed. A fleeting moment of love lesbian expandandido, creating a strange beauty and a kind erotic distancing the viewer.

And if one of the qualities of James Benning's work is the ability for the viewer to see things in another perspective, his disciple takes over, and as the camera moves down the long hallway, in a slow but steady Lockers and employees leaving the viewer is immersed in a unique time-space experience, where the monotony and everyday life in an act intranscente theory acquires a new relevance and meaning in front of our eyes.

That feeling of weightlessness that runs the only plane-impossible not to think at the beginning of Millennium Mambo (2002) Hou Hsiao-Hsien is accompanied a soundtrack composed by Becky Allen in collaboration with James Benning, made from industrial sounds, voices and music, that help create a greater sense of spatial depth and temporal lightness. And is that one of the most amazing time occurs when through a radio hear a song from Led Zeppelin, resulting in a shocking break the monotony and quiet of the whole plane.

a phrase never did more justice: A dolly is a moral issue.

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Far From Heaven (2002) Todd Haynes

Resonance "sirkiana."

The belated premiere in our borders I'm Not There (2007), the latest film from director Todd Haynes noteamericano, is certainly the occasion to revisit his earlier work.

Far from Heaven (2002) puts it stages a melodrama set in the 50's that has as its starting point the work of Sirk Doulgas Heaven only knows (1955).

filaciones The issue of in contemporary cinema, is a major problem iergue, center of all discussions . Muchos cineastas buscan sus modelos de referencia en figuras del pasando , intentando reactualizarlas o reescribiéndolas. Olivier Assayas lo intentaba con el serial Les Vampires (1916) en Irma Vep (1998) , el japonés Nobuhiro Suwa hacía lo propio con Hiroshima mom amour (1959) de Alain Resnais en H/History (2001), Gus van Sant copiaba plano a plano el clásico de Alfred Hitchock Piscosis (1960) en 1998. A pesar de las grandes diferencias que hay entre estos cineastas y sus modelos de referencia , los tres parecían llegar a una misma conclusión , la imposibilidad del remake para recuperar las imágenes pasadas, porque toda obra está crossed for your time.

And time is what appears to recover Todd Haynes in Far from Heaven, playing style, music, and performances of the melodrama of the 50's, with the work of Douglas Sirk with reference point, a proposal that goes beyond a mere copy "retro" to which we have so used due to the permanent Hollywood creative crisis.

The history of Far from Heaven is a reenactment theme Heaven only knows (1956). Cary Scott in which she played a single woman, mature and wealthy who falls for Rock Hundson it was her handsome young gardener, and have to suffer the rejection of a selfish children who fail their romance, and criticism of a people who represented the reactionary and retrograde morality of a society in which love can only be understood by inbred reasons. In

Far From Heaven Todd Haynes introduces some changes in the plot that illuminate the limitations of the classic tale at the time. Julian Moore plays a woman perfect upper-class American family with progressive pesamientos married to the perfect husband, devoted entirely to his work, with two perfect children in their care, in a perfect residential neighborhood in a city in Connecticut. All this screeching Haynes puts perfection on stage playing the classic style of melodrama of the 50's, with colors and a picture that has clearly influenced by the paintings of Edward Hopper, especially in the use of color and design of some interiors that serve to emphasize the loneliness and bewilderment of the protagonist . This world

perfect American family falls apart when Julian Moore decides to go to give a surprise to her husband (Dennis Quaid) to work and discover it on his office kissing a man. Item on the homoxesualidad that somehow was latent in Sirk's work, due to the presence of Rock Hudson and rebuilt the cabin in the film, which had a touch effeminate. Julian Moore
find friendship and comfort in her black gardener (Denis Haysbert). An educated and cultured man with a daughter suffering from rejection and repudiation of the city because of their racial status. The friendship was established between the two will be the looks and comments from people unable to understand their relationship, because of biases that were present in American society of those years and that Douglas Sirk had also shown in Imitation of Life (1959).

cigarillos and the moral fear of rejection still weigh too much and the two will have to give up his love in an emotional farewell at the train station and Julian Moore was alone in charge of her two children after her husband to leave with her lover finally accepting his homoxesualiad.

If Douglas Sirk had revealed the artifice of the representation of classic films through a mannerist play of mirrors, just as it did with Velázquez Las Meninas , Todd Haynes' melodrama does mirror the 50 revealing its limitations. Because already said literary critic Harold Bloom the great texts are always rewriting or revisionism.

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That's exactly what I mean. These photos are a collaboration of Klausen Puchiko nyu! and frankly I do not think that I require of this, who is this guy? WHO CARES! I do not want to talk with him.

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I've fallen from heaven
To be with you tonight. I crossed the threshold

From time to love,
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