La Furia Umana, a journal of interference that (from the beginning) overcrosses boundaries, aims, on the contrary, to promote intersectionality and peace.
About Harun Farocki’s Parallel I-IV
Behind every image, something has disappeared. And that is the source of its fascination. Behind virtual reality in all its forms (telematics, IT, digitization, etc.), the real has disappeared. And that is what fascinates everyone. According to the official version, we worship the real and the reality principle, but – and this is the source of all the current suspense – is it, in fact, the real we worship or its disappearance?
ON PALESTINE
Intersectionality and Peace
Peter Kubelka in conversation with Eve Heller and Peter Tscherkassky
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.
With a short note written by David E. James
Dossier coordonné par Judith Langendorff et Benjamin Léon
Des chercheurs de différentes disciplines (théorie du cinéma, photographie, arts plastiques, littérature, culture visuelle) interrogent les expériences du nocturne, de ses couleurs, luminosités, opacités et profondeurs particulières.
Plotinus according to R. Bruce Elder
Heiner Müller presentato da Vincenzo Frungillo
The Passenger di Cormac McCarthy
Mark Rappaport, Pickpocket – Revisited, Again
Carlos Losilla, San Sebastián, Víctor Erice y otra historia del cine
Mireia Iniesta, Reclusión y eterno retorno del cine contemporáneo
Toni D’Angela, Yasujiro Ozu o la forma immutabile del mutamento
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.
Carlos Losilla
La última edición del Festival de San Sebastián, celebrada en septiembre de 2023, supuso la consagración definitiva de Víctor Erice. Se preguntarán ustedes el porqué de tal afirmación, tratándose de un cineasta que empezó su carrera profesional en los años 60 del siglo pasado y atravesó las décadas siguientes con algunas de las películas más destacadas de la “modernidad” cinematográfica: de El espíritu de la colmena (1973) a El sol del membrillo (1992) pasando por El Sur (1983), por no mencionar cortometrajes, mediometrajes, instalaciones y otros formatos.
Solidarity with Palestine! Immediate ceasefire! Peace! Self-determination for the Palestinian people!
Toni D’Angela
Dispiegata fra il 1952 e il 2003 la filmografia di Brakhage – 400 film circa (quasi tutti sempre in 8mm e 16mm) – è un continente della storia del cinema in cui si possono individuare livelli distinti e correlati che ne costituiscono la trama, attraversata da temi come la nascita, la morte, il sesso e la ricerca di Dio. Il livello della lunga durata, cioè di una costante vocazione a difendere i diritti di una percezione che è già espressione, di un occhio liberato, che attraversa tutti i suoi film dalla prima fase di crudo realismo e crudele espressionismo fino all’astrattismo degli ultimi anni.
David E. James
Distressed because it appeared that no-one was writing a biography of Stan Brakhage, several years ago I began to interview the surviving people who knew him well in hopes that important material might be preserved for some future biographer. For convenience, I designated my work as the “Stan Brakhage Biography Project.”
La « typique “serpentine” de 1900 », de l’art plastique au théâtre notamment, prise entre une ancienne et une nouvelle forme, est sans doute emblématisée par excellence par la danse serpentine de Loïe Fuller, émergeant de la « nuit » de la scène, ce qui conditionne son apparition…