Schoemberg Arnold works are the basis of Introduction to acompañamineto music for a movie scene "Schoemberg Arnold (1972) Moses and Aaron (1975) and From overnight (1996), Henrich Böll arises Machorka-Muff (1962) and reconciled or just not support violence, where violence Queen (1965), Elio Vittorini texts are the starting point of Sicily! (1999), Operai, contodini (2001) and The Return of the Prodigal figlio (2003), with these examples is enough to realize that Jean Marie Straub and Daniele Huillet a close realación in his work with some artists that have somehow become constant references in his films. And it is impossible to think of this pair of filmmakers without us comes to mind Vittorini, Cezanne, Shoemberg, Hölderling, Böll and Pavese.
It would then no nonsense talk of a tetralogy composed pavesiana Dalla tag alla resistenza (1979), Qui encontri parrot (2006), Artemide's Knee (2008) and Le Streghe, femmes between elles (2009) 4 works and you have one thing in common: Dialogues with Leuco (1946) by Cesare Pavese.
27 2 dialogues in which characters from Greek mythology known as Circe, Hermes, Castor or Ariadna talk or discuss any topic. The use of these mythological figures and fake conversations Pavese serves to convey their own iquietudes and disturbances. Yet behind this apparent simplicity formal Dialogues with Leuco are an enigmatic and complex work because: A myth is always symbolic, so he never has an unambiguous meaning, encapasulada allegorical but lives, according to the place and the humor that surrounds it may erupt in the most diverse and multiple blooms [1] .
And all this complexity and polysemy is collected by Straub in his work with the same simplicity and pared down to the work boasted Pavesse.
All dialogues are fraught with enormous poetic melancholy and irony, as the dialogue of the witches that was the basis of Jean Marie Straub for Streghe, femmes between elles (2009) where Circe Leucothea talks to about their memories about Odysseus, the goddess suggests a deep unhappiness about not being able to keep him on his island:
Leucothea: Too many things you remember about him. You did not pig or wolf, and you did remember
CIRCE: mortal man, leukopenia, do not know what's so immortal. The memory and the memory has to stop. Names and words are esoteric. Soria also to recall them, resigned. [2]
Artemis's Knee (2006) part of the dialogue of The beasts Pavese's book, and became a kind of emotional farewell to Jean Marie gave her his inseparable Daniele who died few months earlier. In this dialogue Edimión (Daniele) Artemis pastor provoked him eternal sleep, talk with an Alien (Straub).
ABROAD: Everyone has the dream to touch him. Endymion. And your dream is infinite voices and screams and land, skies, days. Duérmelo value, you have no other good. The wilderness is yours alone. Love her which she loves. And now, Endymion, I leave.
lori encontri Qui (2006) adapted the last five dialogues that appear in the book talks Pavese.En envision a religious and existential concerns and a desire to find answers and accept a destiny that is sometimes absurd and instatisfactorio. As in the last dialog titled Gods anonymous characters discuss the absence of divine presence and encounters with them were produced. The gods have abandoned the men to their fate.
- What monstrouos believe in, believe in animalized bodies, rock, live, in the smiles divine, in the words that annihilated?
- I believe what every man has waited and suffered. Where once rose to such heights of deadly swamps stones or sought under the sky, it was because they econtrar something we do not know.
Dalla
tag resitenza alla (1979) is the first of the tetralogy and having a difference to others. Consists of 2 parts fit the first six dialogues and in the second part comes from the latest work by Pavese The moon and the bonfires (1950). In the six dialogues transmitting a a separation between the world of gods and men, between the divine and the earthly. Serge Daney's summarized as follows:
tag resitenza alla (1979) is the first of the tetralogy and having a difference to others. Consists of 2 parts fit the first six dialogues and in the second part comes from the latest work by Pavese The moon and the bonfires (1950). In the six dialogues transmitting a a separation between the world of gods and men, between the divine and the earthly. Serge Daney's summarized as follows:
The gods are not in solidarity with the men, leaving (second dialogue: The Chimera), the men separate gods of things, giving them a name (third dialogue: the blind), the gods themselves apart and transforms into animals (fourth dialogue: The Wolf Man), the gods give separate from each other through the sacrifices (fifth dialogue: guest) and the separation is total content when idle to look at these sacrifices (sixth dialogue: Fires ) [3].
may seem that these two parties componene film have no relationship from the work of Cesare Pavese. But The Moon and the Bonfires despite being placed in a Piedmont area after the war, moves like Dialogues with Leuco between the symbol and myth. Death La Santina at the hands of the partisans burned at the stake as a traitor, and that tells Anguilla uploaded on the hill where the slaughter took place, that place of memory, that plane as a tomb, represents a kind of ritual or offering for beginning of a different future. A ritual not unlike the one made by two peasants, father and son in dialogue fires that appears in the first half.
FATHER: So. Where once a fire was enough to make it rain, burn it to a homeless man to save a crop. How many house owners have to burn, how many fires on roads and squares, before the world again to be fair and we can say our reasons?
In the first part Dalla alla tag resitenza (1979) there is an opposition of men and gods to accept his condition and destiny, and in the second half behind and recall all that nostalagia Anguilla's childhood after 20 years of exile, the partisan resistance has become a symbol and a myth. So two parts that appear individual and agencies including vascular end between the same concepts: the cloud (myth) and resistance (opposition).
Ethics of the image.
The actors served Straub not tested professionals that text to avoid any sentimentality to not start any emotion because what they start from the representation is a cinematic event, which draws the text is a rhythm or a tempo, which is a tear of language "aphasia." And is that a characteristic of all the films of Straub is to get an act of pure speech. The visual and sound in the film of The Straub will give rise to two images Heautónomas, image and optical image audivitiva, costant separate dissociated. [4]
But not everything is spoken in the films of Straub. The silences are revalued at that ebb and flow of word and image and when it ceases the sound bytes between Endymion and abroad in Artemis's Knee (2006) and the camera gives us some beautiful views in the woods, or when Oedipus and Tiresias finish their conversation Della tag della resistenza (1979) , and the camera continues to record increase in the car, with the two characters back, swinging and vibrating to the rhythm of the horse. And the film is Jean Marie Strub and Daniele Huillet forces us to read the visual and hearing the act of talks about a new way. As Deleuze says: A new sense of "legible" to the visual image appears to mims time that the speech act itself becomes self-image.
1. Cited in Practical Reason Keys No. 192. Cesare Pavese's Dialogues with Leuco ".
2. Pavese, Cesare, Dialogues with Leuco, ed: 2001 Tusquest
3 Daney, Serge, Film, art of this , ed: Santiago Arcos 2004
4. Deleuze, Gilles, The Time-Image, ed.
Paidos
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