La Furia Umana, a journal of interference that (from the beginning) overcrosses boundaries, aims, on the contrary, to promote intersectionality and peace.
Solidarity in practice: Algiers’ Red Years
Authors
Bogdanovich simulates the original, rather than maddening it, introduces even subtle slippage so that his cinema is not only a gaze at things — transparent as in the meaning of Hollywood classicism — but also informed by perceptive patterns, by visual and cultural patterns: his gaze is charged with the theory and history of cinema.
To read what has never been written, to put the institution back in motion, to subtract tradition from conformism – as Benjamin suggested – has always been the vocation of this journal. As Michel Serres would say: write texts of which you are not the author. To think of a new subjectivity (agency) that invades the human and nonhuman, and also, why not, starting from the old querelle about authorship/discourse, or signature/system. Is Lang an author? And Walsh isn’t? It’s obvious that we are beyond all this.
R. Bruce Elder, Plotinus, Woman’s Art, Electrology
Stefanie Bauman, Voire la Palestine
La filmografía de Fritz Lang cuenta con tres westerns, rodados en su etapa americana. En su libro Fritz Lang en América, Peter Bogdanovich afirma que las películas estadounidenses de Lang son mejores que las alemanas y suscribe lo que Alfred Hitchcock opinaba sobre el cine hecho por extranjeros en Estados Unidos: que, cuando estos directores recién llegados hacían películas, las hacían para todo el mundo, pues Estados Unidos ya era un país lleno de extranjeros.
Carlos Losilla, Introducción: el mundo que fue, el que creemos que es y el que puede ser Quim Casas, Peter Bogdanovich: tan lejos de Raoul Walsh y tan cerca, aunque esquinado, de Fritz Lang María Adell, De Joan Bennett a Cybill Sheperd Mireia Iniesta Navarro, El otoño de la épica Toni D’Angela, Carattere, destino e […]
Qu’attire tant Borges au cinéma ? Il adore les histoires, on y reviendra longuement, il y cherche aussi un certain dépaysement. Ainsi écrit-il dans l’une de ses critiques : « Entrer dans une salle de cinéma de la rue Lavalle et me trouver (non sans surprise) dans le golfe du Bengale ou dans Wabash Avenue vaut mieux, me semble-t-il, que d’entrer dans cette même salle de cinéma et me trouver (non sans surprise) dans la rue Lavalle ».
This excerpted material follows from earlier chapters in the book in which I sketch out a flexible morphology of suspense, one that includes art cinema, encompasses a wide range of speeds and intensities, and goes beyond simply defining suspense as a genre unto itself.
If there is a legacy, and not just monumentalization, it is because there have been scholars and artists who asked questions about what Modernism is, who enriched it in the extent to which they problematized it as a cultural movement. I will not present different meanings of Modernism, but I ask myself what the purpose of Modernism is for Mário Peixoto and whether this Modernism might interest us today.
To read what has never been written, to put the institution back in motion, to subtract tradition from conformism – as Benjamin suggested – has always been the vocation of this journal. As Michel Serres would say: write texts of which you are not the author. To think of a new subjectivity (agency) that invades the human and nonhuman, and also, why not, starting from the old querelle about authorship/discourse, or signature/system. Is Lang an author? And Walsh isn’t? It’s obvious that we are beyond all this.
Bogdanovich simula l’originale, più che forsennarlo, introduce uno slittamento anche sottile per cui il suo cinema non è solo uno sguardo sulle cose – trasparente come nel voler-dire del classicismo hollywoodiano – ma è anche informato dagli schemi percettivi, dai pattern visivi e culturali: il suo sguardo è carico di teoria e storia del cinema.
In the first part of this three-part essay, I outlined my reasons for embracing the (admittedly contentious) idea that at the age of twenty-eight, the philosopher—actually, the religio-philosopher—Plotinus (204/5–270 C.E.) experienced, quite without preparation, his first episode of altered consciousness, or, as he describes it, his first unification with ultimate reality, variously referred to as τὸ Ἕν (to En, the One), or πηγή (Pigi, the Source or Fount of all reality), or the μονάς (Monas, the Monad).
No, I wasn’t in the Resistance and, yes, I suffered, as did everyone else I knew, during the war—in my business especially, since everything was rationed and there were severe flour shortages, I couldn’t make bread. And, of course, if I didn’t bake bread, I couldn’t sell it.
Cuando Joan Bennett hizo su primera película con Fritz Lang, el filme anti-nazi Man Hunt (1941), la actriz norteamericana había dejado atrás su idiosincrático peinado corto, de color rubio platino, que había marcado su imagen a lo largo de los treinta.
El 15 de noviembre de 1924 es una fecha particular en la historia negra de Hollywood. El Oneida, lujoso yate propiedad de William Randolph Hearst, zarpó con aires de fiesta repleto de estrellas, directores, agentes, actrices de segunda fila, periodistas, músicos y gente dispuesta a pasárselo bien para celebrar en alta mar el cumpleaños de Thomas Harper Ince. Aunque Francis Scott Fitzgerald no estaba invitado, el ambiente a bordo era el que el escritor describiría en algunas de sus novelas; los tiempos del jazz, el charlestón y el champán, de los hombres y mujeres hermosas y malditos.
Este breve dossier llega con retraso. Diríase que con mucho retraso. Para empezar, no debería haber esperado a la muerte de Peter Bogdanovich para tomar cuerpo, para encarnarse en una idea más o menos plausible y atractiva. Pero es que, además, ya hace mucho tiempo que murió Bogdanovich, con lo que ni siquiera el gesto obituario puede ser una excusa. Por otro lado, ¿excusas para qué, por qué?