Peter Kubelka: I met Brakhage the first time in 1958, on the occasion of the World Exhibition in Brussels, which included an experimental film competition. Of course, you know I always hated the word “experimental” – because I simply consider myself a filmmaker, period.
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.
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 simulacro: Walsh, Lang e Bogdanovich
Toni D’Angela, Character, Destiny, and Simulacre: Walsh, Lang, and Bogdanovich
ilsosia09, kiss kiss bang bang
Mark Rappaport, Confessions of a Movie Extra
Rick Warner, The Ambient Landscape
Vincent Jacques, Borges et le cinéma
Cátia Rodrigues, O que resta do rosto ou do rosto que resta
Denilson Lopes, Mário Peixoto and another Modernism
Bárbara Bergamaschi, Interview with Peter Tscherkassky
Tom Conley, Lire et voir dans La Danse rouge
R. Bruce Elder, Plotinus, Woman’s Art, Electrology
Genito Gomes, Jhon Nara Gomes and Luciana de Oliveira, Ape tipo ijoja ñande ñe’ē. Here we put together our words
Bruce Jenkins, Hollis Frampton’s Autumnal Equinox: A Modernist Film and Its Pictoral Past
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.
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.
De proportion épique, La Danse rouge (1928), l’ultime d’une cinquantaine de films muets qu’a tournés Raoul Walsh depuis 1912 jusqu’à l’avènement du talkie, se situe à l’ombre des chefs-d’œuvre bien connus, tels Regeneration (1915), The Thief of Bagdad (1925), ou Sadie Thompson (1928).
A historical piece by Bruce Jenkins about Hollis Frampton’s Autumnal Equinox.
Preâmbulo O que o rosto expõe e revela não é algo que possa ser formulado em proposições com sentido nem é um segredo condenado a permanecer para sempre incomunicável. A revelação do rosto é a revelação da linguagem em si mesma. Tal revelação, portanto, não tem nenhum conteúdo real e não diz a verdade acerca deste ou […]