Sunday, August 22, 2010

Phrases For Asking To Prom

The Marquise of O (1974) / Welsh Perceval (1976) Philippe

representation of a text.

Evocation
Fussili box in the Marquise of O.
The Marquise of O and Perceval Welsh are, despite their formal and thematic differences, two excellent works which pursue a similar purpose, to stage the text from which they came. "I would like in this work on a classic, having managed to paint the world from another era with the same sort of detail to paint the world today in moral tales." For a long time these two works appeared in a strange way in his films, a director who always Archaeology was dedicated to the loving relationships and behaviors, then, is in "moral tales" in his "Comedies and Proverbs" or "Tales of the 4 seasons "is concerned to bring to screen two works based on classical texts without any intention to update, because Rohmer rejuvenate a work means you do not modernize it, but return in time. And I say it appeared as two unusual works and do not appear, because if we do a review quick of his later works, we see that Rohmer, after terminate their study on the influence of weather on human behavior has made works that are similar to patterns The Marquise of O and Perceval, The Lady and the Duke (2001) and The Romance of Astrea and Celadon (2007) . A study of the past emphasized in its final stage might come caused by a sense of incomprehension and rejection to the present, the past is a conviertie to Rohmer isolated from a haven for contemporary era which was not very comfortable.
The Marquise of O is based on a short story by German author Heinrich von Kleist belonging to the movement of German Romanticism. Rohmer does not try to adapt the work of Kleist, but what it does is a marked fidelity to the author's text, which Rohmer films as he says "there is a mise en images, but the concrete representation of per server vidos character left to the reader's imagination. Fimo stories but not to people who tell stories and in The Marquise of O ... what I shoot is a story narrated by Kleist [1]. Film
All Eric Rhome boasts a strong tendency toward objectivity and invisibility of forms, a constant search to try to raise from the invisible visible, a scrupulous respect for the characters that populate his "documentary fiction." What is it that attracts you the text of Kleist Rohmer?. "The narrator prohibits any mention of the inner thoughts of the heroes. Everything is described from the outside, just as calmly contemplated that the objectives of a camera [1]. Is distancing Rohmer's work displayed in Klieist, is the same as the big momo has searched in all his films.
The staging that Rohmer made in the film is a thorough representation of nineteenth-century staging. Rohmer and Nestor Almendros, searched for their references in the paintings of the eighteenth and early nineteenth centuries in order to provide greater authenticity and similarity to the film with the original test. The framing, colors, lighting and exaggerated gestures of the characters are clearly paintings influenced by Jacques Louis David, The Oath of the Horatii (1784) or Jean Baptiste Grueze, punished Son (1778)
is
search pictorial referents to give the film more faithful to history, had also made some years earlier by Stanley Kubrick in Barry Lyndon (1973) with eighteenth-century English painting, Reynolds, Gainsborough, constantly ... Though really just doing what Kubrick is a representation of the representation that the pictures were of English society in the eighteenth century.
However there is a box Nightmare JH Füssl i, which is reproduced in a fairly faithful to the film, and also functions as said Pascal Bonitzer as a visual metaphor a narrative ellipsis. A very smart to use a particular pictorial reference to suggest a veiled way, an act that falls outside of the film, to be the cause of the conflict that will to face the Marquise, her pregnancy. How can this be possible, but am a virgin? She asked stunned the Virgin Mary, the angel Gabriel. Like the Marquise will ask for much of the film.

Welsh Perceval is a work, strange, purely experimental, and extravagant but at the same time unique, interesting and bold, where Eric Rohmer is facing the same problem that The Marquise of O , the representation of a literary text on the screen. But if in the previous work, the difficulty was how to accommodate the romantic nineteenth century representation, in which like it or not one is more familiar in the Welsh Perceval , complexity is accentuated, because the text of Crethien de Troyes, Li Contes del Graça l, dates from 1190.
Perceval, the Welsh. Lack of depth of field and gestures
unrealistic scenarios forced.
Nestor Almendros and Eric Rohmer, in a similar operation to that made in The Marquise of O, decided to get a visual representation as reliable and objective Crethien text, based on the artistic production of the time. How to represent cinematically visual system so distant from our current percepeción images?. Nestor Almendros described some of the work of reproducing medieval pictorial representation "as in the miniatures of the Middle Ages things were not normal scale. The sky was blue with clouds painted on a giant cyclorama, stylized trees were plastic castles made of balsa or cardboard miniatures in gold, the grass was painted green ground. The colors of clothing appear very lively, sometimes aggressive, as we issued the thumbnails inspirábamos us [2]
And the fact that the visual system of the Middle Ages is so alien to us is what causes a feeling of discomfort, amazement and a certain anachronism, because although Rohmer's effort is valiant and worthy of admiration, contemplation of a work is always contemporary art. As spectators we can not see Velazquez Las Meninas ;, for example, as seen in 1656. All viewing is present, and film as Serge Daney said this is an art. This does not mean that the work of Rohmer and Almendros is performed correctly and inspires fundamental questions about the representation and adaptation of a classic text to film.
The formal experiment performed Rohmer in Perceval, confronting the viewer with a representational system as far away as the Middle Ages, has similarities with the work of Federico Fellini's Satyricon The (1969) in which the ; Italian director created compositions that were influenced by Roman frescoes and Byzantine mosaics.
may seem at first glance that these two works because it is more stylized and artificial are far from the austere and objectivist conception which has shown the cinema of big momo . But while the formal elements are more evident in these two works and stay away from the naturalistic aspect shows in his extraordinarily rich "moral tales" Rohmer's attitude to perform the two adaptations is the look of documentarian and ethnographer who appears in the rest of his work. Thematically The Marquise of O is an exploration of the subjective morality and social morality and the Welsh Perceval , developed through Arthurian myth, issues of loss and search for faith, both problems usually played by Rohmer in work.
The two works have become a point of right priority for all the debate that revolves around the Film and Literature and Cinema and Painting.

[1] cited in Crown Carlos. F / Satamarina. A, Eric Rohmer, pp 176, 177. Ed: Catedra
[2] Almendros, Nestor, Days of a camera, 247 pp Six Barral Ed

Thursday, August 19, 2010

Retirement Songs For Christian

The soul of the rules

Educated under the vile and vacuous positivism, we lost track of soul standards. That is no longer perceive that the need for a rule is legal, with real binding force, it must have a sense (usually a "moral").

Now  en cuanto existe un conflicto o en cuanto creamos un espacio de convicencia lo primero que hacemos es regularlos; crear normas en masa, sin más, en la creencia de que un grueso texto de estatutos traerá la paz social y el correcto uso del espacio o bien en cuestión . Tal vez esa paz se consiga  (muchas veces por puro aburrimiento ante el abrumador número de obligaciones y condiciones), pero el verdadero fin del derecho va más alla. Su objetivo es conseguir que el sentido común  impere por encima de interes particulares. Se trata de las cosas funcionen bajo ese sentido común. A veces, to achieve it, it's best to just ignore the rule or at best a glimpse of standard porponer; a pre-standard (we'll talk about that another day).

I've seen in some parks, such as prohibitions such as "do not eat." "What sense does that rule in a park ? Eat a cookie is a violation? Did you put that sign there to fill, because things seem more serious and official signs forbid if there?

Wednesday, August 18, 2010

Timberland Boot Hurt My Ankle

Iconoclasm

In politics, current thinking is given (since everything is invented) has proposed unbelievable things. After seeing different Institutional advertising (mainly universities) where images of human types out very characteristic (usually identified with a success rate based on material), I wonder if the neutrality and objectivity due to public power should prevent it being manifest through images raised or promote "models" concrete.


That is, if the cable palnt institutional advertising should be without representations atropomórficas of showing that a human group (Eg Germanic type) or a role model (the progressive brand) are models desirable.

Not bad idea. Has, I believe, to complete a substance controversial postmodern bill. Only symbols, emblems, etc, no thin blonde with an air between progressive comprehensive and cold executive.

Friday, August 13, 2010

Letter To Veify Volunter Hours

About the previous entry

Tiket Di Pokemon Light Platinum

Spain, bars and banks!

Leo in Of Truth :

No other country has so many bank branches per thousand inhabitants as Spain.


No country in the European Union has many ATMs like us.

Monday, August 9, 2010

Sebaceous Cysts Removal Austin

Grandieux: Give me, then, a body.

The body is no longer the barrier that separates the
thought of himself, it must overcome in order to
think. On the contrary, is that in which thought plunges
or be submerged in order to achieve the unthinkable, ie, life

Gilles Deleuze. Image
time

Deleuze had already noted the existence of a group of filmmakers who began to give preponderance to the body, their attitudes and positions, because they realized that through them, were elucidated categories of life. These filmmakers of the body between which Cassavetes and Garrel is ecuentran somehow opposed to the mind as filmmakers Harun Farocki and Alain Resnais. French filmmaker Philippe Grandieux could be placed in the interstices of these two as their work moves between physicality and intellectuality, between the physical and mental. The rough and disturbing Grandieux work is undoubtedly closely connected with the works of other "extreme contemporary filmmakers" in which corporeality and intellectuals also have attachment points in Bruno Dumont's L'Humanite (1999) , Gaspar Noe of Irreversible (2002) or only against any s (1998) and Claire Denis with cannibalistic Trouble Every Day (2001)

His films are a sensory and emotional experience, more close to video art that conventional narrative cinema. formal experimentation that flows from the screen: tremors, blur, broken figures, fast mounting, no more than a search for representanción of terror and fear anything that takes us from Dreyer and Murnao to Haneke and Polasnki. Brenez Nicole said that his films: c onstitute the Most Advanced cinematic point of research, for today Representing What the films of Jean Epstein Were for the 1920s and '30s or Philippe Garrel's Were for the '70s and '80s [1]. That interest Epstein to make a visual film, full of emotional intensity that relfejase the subjectivity of the feelings of the individual, is the same curiosity that shows Grandieux in his works, a sense of the camera revealing just disturbing the individual conscience. His films often move from an unlikely bond that combines elliptical and fragmentary Robert Bresson and abstract lyricism and visionary Stan Brankage.
;
                                                     Elina Lowensohn Tears in Sombre (1998)


In Sombre (1998) from the very beginning, Grandiuex, puts us in the territory of the blue funk with that theater full of screaming kids scared compared to what is shown on the screen. Moment that reminds us, not haphazardly, another beginning, The Spirit of the Beehive (1973 ), we both placed in the primitive and archaic feeling of fear: the children. And not only beginning to resemble the work Victor Erice with Sombre , in two films, the protagonist will face a monster that will kill innocent to child / sexual. However, the beast has a side Grandiuex inquientante and disturbing, as a sexual psychopath. Sombre proposes a rereading of the myth of beauty and the beast near masochistic vision plasma Baleria La bete Borowczyk. Sombre end, however, is far from reflecting a position misogynous and contempt for women, because as Bataille said In his celebrated essay the field of eroticism is essentially the field of violence, rape. That the beautiful Claire (Elina Lowesohn) after saving and rescue his sister, Christine, decided to meet again with the beast to be owned and "desecrated", reveals, according to Bataille, that: the ultimate meaning of erotimo is death.
And is sexual union between Eros and Thanatos, the man and woman, humanity and animality, present in Sombre creates a logical relationship to films like Picnic A (1936) Jean Renoir, Both English and love (1976) Francois Truffaut, or Bisfully Yours (2002) of Apitchpong Weerasethakul, because as pointed out by Adrian Martin: In all of them, [...] sex is associated with sexual violence of the encounter between man and woman, the initiation and deflowering, and blood flow [...][ 2]


Tears Silvia Bataille A game of field (1936)


In La vie nouvelle (2002) , her characters exude a greater animality which combined with sexual violence are stark and pessimistic vision of the human condition. Grandieux filmed the bodies of a perverse relationship between a tourist and a prostitute, which the French director takes us on a whirlwind of sensations and emotions that produce high impact and rejection. La vie nouvelle presents a more abstract narrative about Sombre, a sensory maze just passing on a huge anxiety and vertigo in the viewer. My dream is to to create a film ist Completely Spinoza, built Ethical categories: rage, joy, pride, ... said in an interview with Nicole Brenez. The camera of Grandieux aa stick bodies literally, fragmenting, giving the film a feeling anxious and oppressive, which has its climax in an orgy of bodies misleading, recorded in the deepest darkness with a thermal camera. Their bodies were hysterical with Cassavetes and Garrel Phileppe hieratic are reduced to the mere expression afternoon heat in the bodies of Grandieux

A lac (2008). is a timeless story of a family living alone and isolated in a mountainous area with abundant trees and vegetation in northern Europe, a couple cold and snow, which is near a large lake. But nevertheless despite this idyllic spot forest, has a vision violent and savage vision of nature, next to the devilish design of Antichrist (2008) Lars Von Trier or Grizzly Men (2003) by Werner Herzog. The emergence of a weird guy to be introduced within the family, eventually leading to the outbreak of feelings that were kept in a dormant state. In fact the character "messianic" Jurgen (Alexei Solochev) has some of the visitor Terece Stamp starred in Theorem (1968) Pier Paolo Pasolini , the two end up creating confusion and disruption in the host family. The rage and desolation that just transmitting the forms Grandieux shooting in the film, moving between the wrath of the abstract expressionism of Jackson Pollock, the dark and murky Georgl expressionist poetry and lyricism Trakl Stan Brakhage violent.
The end of a Lac is a perfect match between the work of three artists, a scene which echoes Dog Star Man: Part I (1962) , Number 31 and Passion poem.

The pond blue / green is lost under the tree / shade following the sister of a dark love wild strain / day fleeing the gold wheels /


1.
http://www.rouge.com.au/1/grandrieux.html

2. MARTIN, Adrian. "Grandiuex in the underground." Film Archives. No. 55 (February 2007). Pp 170

Motorcross Wedding Cake

A quick look at the changes in Catalonia

August but the BOE is following with "exclusive" of great interest. This time the hand of the Law 34/2010 (published today) amending, among others, the law of contracts. I have not had time to read it in depth, although I've seen something new that catches my intention: the procurement no longer perfect after their award. new article 27 of the Act provides for perfection from the formalization .

Friday, August 6, 2010

How To Change Your Eyes In Poptropica

Contracts Act and laws that really matter

While the statute makes screen in the Official Journal Government published what really builds a full order. In the past day 5 are released two standards-reaching: The Family Code as part of the ambitious project of the Catalan Civil Code (I think I only lack the part of oblgiaciones) and Legal System Administration Catalan, which is the LRJPAC  de dicha Comunidad --en muchos aspectos la reproduce y sigue su esquema (a pesar de lo ciritcado que fue en su día por casi toda la doctrina)-- aunque también mezcla elementos que en el ámbito estatal se recogen en otras normas adminsitrativas (como la elaboración de disposiciones generales o lo referente a los entes instrumentales).

Me gusta más la labor hecha en el derecho privado con su Código Civil, donde la doctrina ha podido hacer --al fin-- un ejercicio de modernización , criba y aclaración del farragoso y anticuado derecho civil tradicional y común. Si alguien no entiende una institución en el Código Civil de toda la vida, lo mejor es que la busque in Catalan, which are explained in modern language and mental models (ie basic) also present.

should take note about the state legislature, albeit with a wider proyecot - to the extent of his powers - to give life rather than a civil code, but a necessary Code of private law to the Italian although, as I said, adpated to people who have grown up with PlayStation (for this generation and future generations about the "censoenfitéutico" as it appears in the current code, which is just as you made the Romans, is iincmprensible. Natural otherwise).

Thursday, August 5, 2010

Diaperpunishment In Frederiction



That is not the same as lawless territories, and the West. I mean spaces or social activities (if they were not social rules can not speak of, I think) that lack precise rules, express, governing what is there. That is, their players have not adopted laws or relgamentos regard. Take, for example, the case of a wedding . Everyone in generalsabe what to do: ceremony, to expect the way out of the couple, to address the Pinchin, etc. There are no legal rules or legal sense.

These areas, unfortunately, are becoming more scarce. For decades - many - the trend is reversed: Norman is all, as we know because we suffer.

I think it is necessary to recover the areas not regulated. Something like "get rid of the damn lawyer" in all of us and we all know.

I have direct news, for example, neighboring communities where the regulatory body is bulkier than the State of Andorra.

common sense of community, sense of boundary and even ridiculous . This will set us free.

Wednesday, August 4, 2010

What To Write In My Sisterswedding Card

Writing Matters not clearly regulated

I see in the blog of David de Ugarte the new occurrence of the European Commission : A guide write clearly. is for officials of the Union. It is made understandable to citizens - EU-documents complex. As Ugarte says, the guide is a adptación of the different languages \u200b\u200bof the Community esuqemas rhythm and English. a further step towards standardized communication in the context of the Anglosphere (Ugarte calls anglomundo ).

Tuesday, August 3, 2010

Week After Period Pink Mucus

Mamma Roma (1961) Pier Paolo Pasolini


Violino
Tzigane.

"His appearance almost terrifying, and when it is not so annoyingly miserable. Horrible, fur, manes cartoonish, pale complexions, lost eyes. Initiation masks are barbaric, barbarous miserably. Or are masks diligent and unconscious integration not pity. " Pasolini's cinema has always been a film of faces. Faces of misery and poverty in the Roman suburbs Accatone (1960) , faces of love and drama Mama Romm (1961) , holy and human face in The Gospel According to St. Matthew (1964) , face of mystery and the Theorem enigmatic, funny and political face Pajaritos and Pajarracos (1961) , faces myth in Oedipus Rex (1967) and Medea (1969) face of depravity and terror in Salo or 120 Days of Sodom (1975) .
In Mamma Roma will be the face of a prostitute (Anna Magnini) and his son Ettore (Etore Garulfo) that show us the harsh and stark reality of post-war Italian society. But while it shares features Passolini neorealist heritage, away from Rossellini or De Sica, in Mamma Roma Accatone or there is a clear awareness formalist aesthetic that transcends the mere impression of reality. Mamma Roma
not let it be the melodrama of a prostitute who tries to escape his past to try to give wayward and rebellious child a better future. But Ettore, however hard they try his mother, is a character that could well come from the Roman slums Accatone, without hope or illusion, stigmatized for life, any attempt to change appears unrealistic and impossible, the only way out of these disinherited, is crime and idleness.
However despite this marginality, Pasolini creates moments of intense poetic naturalism, as the sequences of trips by Ettore open field near his new home, where he confronted the past, rural peasants and has almost completely disappeared, represented by the ruins and monoliths and the present, capitalist and proletarian with modern buildings of the Roman suburbs. Italian director felt a deep distress and dissolution of depopulation of rural areas due to the massive migration of peasants into new factories, because the traditional world of values \u200b\u200brepresented a pure and innocent, who opposed the dehumanization and commodification of human existence that was introduced in Italy after the war. This feeling that brilliantly captures the objective of Colli della Tonino in these two fantastic back-tracking shots, in which Anna Magnani seems to confess to the camera while in and out of the box, acquaintances and clients of the prostitute.
The pervasiveness and possession of Mamma Roma on the life of her son Ettore, slashing at times a relationship "oedipal." In the scene where the mother teaches Ettore dance with the song "Violino Tzigane" is played libidinous point that goes beyond the love of a mother for a child. As in the zealous attitude of the mother when the child learns that falls in love with Bruna (Silva Corsini), who will ask your friend prostitute (Luisa Orioli) that appeals vástago.Está relation to no less a film transcript of Pasolini's own relationship with his mother Susan. The Italian artist exaperado suffered a love for his mother and it is not surprising that the screen had just carried one of the quintessential Western myth in Oedipus Rex.
The final Mamma Roma, where Ettore, cruzificado in a hospital bed after committing a robbery suicide, crying to his mother, allows Pasolini show your love of figurative and pictorial event. Clear and direct reference the Dead Christ by Mantegna.
Ettore / Christ faces oscillate between the divine and the mundane, very close Pasolini to Dreyer's Passion of Joan of Arc (1927) shows us the ineffable of human existence through the sacred.

Sunday, August 1, 2010

Homemade Jack Off Pumps

The bright sun shins (1953) John Ford



The Times They Are a-Changin ..


not know the reason why the sun shine bright film is so little valued and widely recognized in the films of John Ford. It is a fact that we surprised me because without doubt one of his best works at the level of Shakespearean The Passion of the strong (1946) , the Homeric The Searchers (1956) or lampedusiana The Man Who Shot Balance Liberti (1962). Something that also happens to Four song (1929) the best film of the stage moves, a pacifist and militarist lyrical melodrama, without doubt one of his masterpieces is in sight where the importance and weight to be family in his later works .

The Sun Shine Bright is a small film in terms of production as W agon Master, Rio Grande and She Wore a Yellow ivencible , but that was beside Licon Young (1939) a of films which were more satisfied as he confessed to Peter Bogdanovich.
Located within the cycle of films called "American" made by Judge Priest and Steamboat Round the Bend , The bright sun shins contains the germ of pessimism and elegiac to accompany him on Webmail desenvocará its stage and in the doctor's sucidio Catwright in Seven Women (1966) . Surely

Judge Priest (Charles Winninger) does not belong to this group yet romantic losers, Mayor Frank Shefftington form of The Last Hurrah , the gunman Thom Doniphon of Man Who Shot Liberty Balance or the pilot of Spig Wead Written under the sun, but certainly has the leading concept that appears in all the films Fordist: must be firm and strong but tolerant and understanding, and know when to turn a blind eye so that his men might bypass the law.

The temperament of a leader so well embody Fordist Hernry Fonda, in his role as future U.S. president The young Lincoln (1939) or former gunslinger Wyatt Earp in My Darling Clementine (1946) , is allowing Judge Charles Winninger as Priest, do against the lynching of a young black man who is unjustly accused of rape at the hands of a horde of feverish and excited. Everyone knows that the human being as part of a crowd seems to be unaware of his actions and descends several rungs of civilization, such as Fritz Lang showed us Fury (1931) and Jacques Turneur stars in my crown ( 1950).

Throughout the film, Ford displayed a clear taste for film collective rituals and social gatherings, dances, churches, military. The funeral of the mother of Lucy Lee's The bright shing sun is a good example of Ford's ability to extract all the beauty of these rituals.
The Judge Priest will begin the procession just behind the car where the body will gradually Fasrfield village will go adding to the party, even leaving aside old hatreds of the Civil War and the moral hypocrisy. "Who is without sin cast the first stone" Priest will say Mass in the church by holding a clear allusion to the biblical parable.

After the funeral procession is held in honor of Judge Priest's victory in the election against his opponent Horace Maydew. But there is a paradox in these two collective rituals, which Ted Gallagher said in his work on Ford, and the funeral becomes a celebration almost festive parade and becomes an act of dyes mortuary. The plane of Judge Priest reframed of shoveling through the doors of their house while her inseparable friend plays the harmonica is a mixture of the exclusion of Ethan Edward at the end Searchers and the sad shadow of Frank Sheffigton after its defeat in Last Hurrah . If, as Godard said, are ways that we say it is inside of things, John Ford again says a lot with little. The Times They Are a-Changin ..