#nicole brenez

[garadinervi]

Jean-Luc Godard: Documents, Edited by Nicole Brenez, David Faroult, Michael Temple, James Williams, and Michael Witt, Éditions du Centre Pompidou, Paris, 2006 (pdf here) [ESACM – École supérieure d'art de Clermont Métropole, Clermont-Ferrand]

Exhibition: Voyage(s) en utopie, Jean-Luc Godard, 1946-2006, Galerie Sud, Centre Pompidou, Paris, May 11 - August 14, 2006

Cinema: Jean-Luc Godard. A Complete Retrospective: 140 films, Documents: 75 films, Cinéma 1 / Cinéma 2, Centre Pompidou, Paris, April 24 – August 14, 2006

[sysk-ehess]

BANI KHOSHNOUDI

Jeudi 6 juin 2023 à 19h (heure de Paris)

Thursday June 6th 2023, 7pm (Paris time)

D’origine iranienne, Bani Khoshnoudi (née à Téhéran) immigre aux États-Unis à l'âge de deux ans, pendant la révolution iranienne de 1979. Elle fait des études d’architecture, de photographie et du cinéma à l’Université du Texas à Austin puis suit, en 2008, le Independent Study Program du Whitney Museum (New York). Son travail, marqué par le déracinement, et le déplacement, explore l’exil, la modernité et ses violences, la mémoire et l’invisible. Alors qu’elle creuse dans ses films, documentaires et fictions,—« Transit » (2005), « A People in the Shadows » (2008), « The Silent Majority Speaks » (2010-14), « Luciérnagas » (2018)—des couches d’histoire et des expériences en relation avec les migrations mondiales, les nomadismes et les luttes historiques pour la liberté, ses photographies et installations travaillent aussi les textures et les traces de ces histoires, l’architecture et les ruines, les empreintes humaines sur la terre. Son film « The Silent Majority Speaks », interdit au Liban et considéré comme « offensant pour le régime iranien », a fait partie de l’exposition , “Soulèvements" (Georges Didi-Huberman/Jeu de Paume, Paris), et a été nommé par la programmatrice et critique française, Nicole Brenez, comme l'un des dix films essentiels du siècle. En 2014, elle a collaboré avec les cinéastes Harun Farocki et Antje Ehmann sur leur projet "Labor in a Single Shot" à Mexico. Le travail de Bani Khoshnoudi a été exposé dans de nombreuses institutions,  notamment le Centre Georges Pompidou et la Fondation Cartier (Paris), l’ ICA Londres, la Haus der Kulturen der Welt (Berlin), le Musée Universitaire d’Art Contemporain et le Musée El Eco (Mexico), la Fundaçao Serralves (Porto), le Musée d’Art Contemporain (Zagreb). En 2009, elle s’est installée à Mexico City où elle continue à travailler aujourd’hui, ainsi qu’en France En 2022 elle a reçu le Herb Alpert Award in the Arts dans la catégorie Film/Vidéo.

[EN] Filmmaker and visual artist, Bani Khoshnoudi was born in Tehran and immigrated to the United States in 1979 during the revolution. She studied architecture, photography and cinema at the University of Texas at Austin, and then continued her studies at the Independent Study Program of the Whitney Museum in New York. Her works, inhabited by displacement and uprooting, explore themes of exile, modernity and its effects, memory and the invisible. While her documentary and fiction films – ‘Transité (2005), ‘A People in the Shadows’ (2008), ‘The Silent Majority Speaks’ (2010-14),’ Luciérnagas’ (2018)- dig into the layers, stories and experiences related to global migrations, nomadisms and historical struggles for freedom, her photographs and installations also work with the textures and traces of these stories; architecture and ruins, human imprints on the earth.

Her most well known film, the documentary essay ‘The Silent Majority Speaks’, was banned in Lebanon in 2014 and considered as “offensive to the Iranian regime”. This political fresco about 100 years of political revolt in Iran was included in Georges Didi-Huberman’s exhibition book, ‘Uprisings’ for the Jeu de Paume Museum in Paris, and was named by French curator and critic, Nicole Brenez, as one of ten essential films of the century. In 2014 she collaborated with filmmaker Harun Farocki and Antje Ehmann on their project “Labor in a Single Shot” in Mexico City.  Bani’s work has been shown at the Centre Pompidou, ICA London, Fondation Serralves in Porto, Fondation Cartier, MUAC Museum of Contemporary Art and Museo El Eco in Mexico City, and the Museum of Contemporary Art Zaghreb, among others.  In 2009, she moved to Mexico City and continues working there today while splitting her time between Mexico and France. In 2022, Bani was awarded the

Herb Alpert Award in the Arts

in Film/ Video.

Programmation et prochains rendez-vous sur ce site ou par abonnement à la newsletter : somethingyoushouldknow-request@ehess.fr

Pour regarder les séminaires antérieurs : http://www.vimeo.com/sysk/

Séminaire conçu et organisé par Patricia Falguières, Elisabeth Lebovici et Natasa Petresin-Bachelez et soutenu par la Fundación Almine y Bernard Ruiz-Picasso para el Arte

[pauline-penichout]

FRÈRES d'Ugo Simon

Chef opératrice, étalonneuse

Mahamadou, Diané et Farid ont chacun perdu un frère à la suite d’une intervention de la police française au cours des dix dernières années. Depuis, ils vivent au quotidien avec la souffrance, l’impossibilité de faire le deuil et la détermination à obtenir justice.

Documentaire - 43 min - La fémis - 2021

Brives 2022 - Lussas 2022

Autour du film : entretien pour Débordements - entretien pour Mediapart par Nicole Brenez - page Tënk du film

[mollat-bordeaux]

💚♥️🖤💙💛 Jean-Luc Godard (écrits politiques sur le cinéma et autres arts filmiques tome 2) Nicole Brenez publié par de l’incidence éditeur #jeanlucgodard #cinema #cinemapolitique #librairie #mollat #bordeaux (à librairie mollat) https://www.instagram.com/p/CoXsXTgqMf-/?igshid=NGJjMDIxMWI=

[byneddiedingo]

Stanislas Merhar in Almayer's Folly (Chantal Akerman, 2011) Cast: Stanislas Merhar, Marc Barbé, Aurora Marion, Zac Andrianasolo, Sakhna Oum, Solida Chan. Screenplay: Chantal Akerman, Henry Bean, Nicole Brenez,  based on a novel by Joseph Conrad. Cinematography: Rémon Fromont. Production design: Patrick Dechesne. Film editing: Claire Atherton Lots of movies -- think of Sunset Blvd. (Billy Wilder, 1950) and Inside Llewyn Davis (Joel Coen and Ethan Coen, 2014), for example -- begin with an incident and then flash back for the rest of the movie to explain it. So Chantal Akerman's Almayer's Folly begins with the camera following a Malaysian man into a nightclub where another man is lip-synching to Dean Martin's version of the song "Sway" as a group of women dances behind him. Suddenly the man who entered the club is on stage stabbing the lip-syncher. The music breaks off and all of the dancers flee the stage except one, who continues to perform the hula-like hand movements as if nothing had happened. We hear a voice call out, "Nina! Nina!" but she continues in her trance-like state for a while until she stops and begins to sing Mozart's setting of "Ave Verum Corpus" as the camera holds on her in closeup. The movie then flashes back to reveal that Nina (Aurora Marion) is the daughter of the European Almayer (Stanislas Merhar) and a Malaysian woman, Zahira (Sakhna Oum). Almayer has come to Malaysia in search of his fortune -- he has heard of a gold mine ripe for the taking. Zahira and Nina live with him in a house by the river until one day his fellow European fortune-hunter, Captain Lingard (Marc Barbé), arrives to take Nina to the city to be educated: Almayer wants her to have the benefits and privileges of a European lady. Though Zahira and Nina flee into the jungle, Almayer and Lingard capture the girl. Nina is intensely unhappy at the school, scorned by the European girls, and when Lingard, who has been paying her tuition for Almayer, dies, she is expelled. She wanders the streets of the unnamed Malaysian city (the movie was actually filmed in Cambodia) and finally returns to Almayer's home. There she's seduced by Daïn (Zac Andrianasolo), a shady young man who is supposedly helping Almayer find his fortune. Almayer recognizes his defeat and allows Nina and Daïn to leave together. Unlike Wilder and the Coens, Akerman doesn't return to the opening scene at  the film's end, but instead leaves us with two of her characteristic long takes: The first shows Almayer, Nina, and Daïn arriving at a sandbar where the river meets the sea to await the arrival of the boat that will take the two young people away; the camera lingers in a long shot as the boat arrives and Nina and Daïn swim out to it, then Almayer and his servant, Chen (Solida Chan), push off into the river for their return home. The second long take is a closeup of the haggard, obviously very ill Almayer as he sits brooding in his decaying home, with Chen standing out of focus in the background. At the beginning of this take, Almayer says, "Tomorrow, I would have forgotten," a sentence that he repeats at the end after we watch the sun play across his face -- moving much more swiftly than it would in actuality -- and he talks about how the sun is cold and the river is black. By now, we have realized that the lip-syncher was Daïn and that Chen was his assassin. As for Almayer, we can only assume that he has died. Almayer's Folly, which Akerman loosely adapted from the early Joseph Conrad novel, is clearly a fable about the tragedy of colonialism, but she's not intent on laboring that topic. It's as much an attempt to prod the viewer into contemplating the mystery of character and identity as her more celebrated Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975) was, and by using less radical variations on the same techniques -- extended takes, minimized action -- she used in that film. Akerman developed a compelling and identifiable style, but there is a point at which style becomes mannerism. (We all want to be thought "stylish," and none of us want to be thought "mannered.") I think Almayer's Folly nears that point but doesn't fully reach it, largely because of the compelling performance of Merhar as Almayer, and because of Akerman's use of the setting, with the help of Rémon Fromont's cinematography and Claire Atheron's editing. She also makes fine ironic use of the Dean Martin song and the Mozart hymn, as well as the only non-diegetic music in the film, interludes filled with the erotic longing of Wagner's Prelude to Tristan and Isolde.

[parietines]

paraphrasing Nicole Brenez

These are films that resist, that one must surmount just as Bergman scaled her volcano, and that change you forever; there are also appetizing films which allow you to unexpectedly uncover an entire world; there are the films that accompany you through your life; the film to which you instinctively compare all others; the film that runs through your head like a popular song and in which the familiar images keep coming back in the same way that you hum the refrain; those you can’t watch again because you’ve loved them too much; those that you understand in fragments, slowly, throughout a lifetime; those that you hope to understand one day; those for which you must wait to become much stronger; those that suddenly offer you everything you needed. But I never encountered a film that made me turn away from cinema.

from Dear Jonathan, dear Adrian, dear Kent, lieber Alex,

[ourladyofperpetualnaptime]

While my tendency has always been towards Bresson, I think that it’s possible to go towards the same, essential materiality through the opposite path, through melodrama. Bresson and Sirk, two opposing paths that finally meet; the final shot of Pickpocket (1959) could be put at the end of a Douglas Sirk film.

chantal and some comrades. fragments. by nicole brenez (2011 interviews with chantal akerman)

[canciondeavignon]

Printtemps

Jacques Perconte / Nicole Brenez, 2020

[aschenblumen]

NICOLE BRENEZ: Pero entonces, frente a la catástrofe, ¿qué se puede hacer? CHANTAL AKERMAN: Puedo señalar el camino, mostrar los lugares en los que los cuerpos están enterrados. Es mejor evocar, es más efectivo tanto para ti como para los espectadores. Al final esas imágenes literales [se refiere a las imágenes de cuerpos muertos] no conmueven; tienes que encontrar otro camino, de modo que las personas que se enfrentan a ello puedan seguir siendo ellos mismos y absorberlo en un cara a cara real con las imágenes. Por eso tiendo a filmar las cosas de manera frontal. NB: Pero una cara vista de frente, contra una pared, es un esquema plástico del arte bizantino y no existe nada más sacralizador. Por culpa del primer plano, como decía Epstein, el cine es «teogónico». CA: Pero es material y se mueve, incluso cuando parece fijarse. Y cuando evitas filmar con contrapicados y ángulos subjetivos, evitas el fetichismo. Cuando filmas frontalmente, colocas dos almas cara a cara, en una posición de igualdad, esculpes un lugar real para el espectador. Por lo tanto, no tiene nada de teogónico. Contemplas algo que está fijado. No hay párpado que pestañee ni corazón que bata. NB: Por lo tanto, tu concepción de la imagen consiste en una batalla que se libra en dos frentes: por un lado contra la literalidad del acto; por el otro, contra la producción de imágenes idolátricas. CA: Sí, normalmente lo literal conlleva que uno esté más cerrado. Aunque depende de a qué llamemos literal. Para los judíos, el orden ético tiene que ver con la relación con el Otro, algo que Levinas analizó muy bien. Estar frente a frente con el otro. Tu sentido de la responsabilidad comienza con esta confrontación cara a cara. Levinas diría: «Ahora que lo entiendes, no puedes asesinar». Esa es mi idea de la ética. Es por lo que siempre busco una igualdad entre la imagen y la persona que la observa.

Chantal Akerman, «Chantal Akerman: The Pajama Interview», disponible online en el sitio web de Lumière. Entrevistas realizadas por Nicole Brenez entre el 15 de julio y 6 de agosto de 2011.

[garadinervi]

Jean-Luc Godard, MANIFESTE, «El Fatah», July 1970; in Jean-Luc Godard: Documents, Edited by Nicole Brenez, David Faroult, Michael Temple, James Williams, and Michael Witt, Éditions du Centre Pompidou, Paris, 2006, pp. 138-143 (pdf here) (English translation here) [ESACM – École supérieure d'art de Clermont Métropole, Clermont-Ferrand. «Diagonal Thoughts»]

[uartslibraries]

Uprisings

by Georges Didi-Huberman

709 D556u

[egyptartists]

RAW Académie Session 7 (Dakar)

Deadline: 30 June 2019 + only the first 75 applications will be considered for review

RAW Académie is an experimental residential program for the research and study of artistic and curatorial practice and thought. The program takes place over 7 weeks in Dakar. It is dedicated to a dynamic reflection on artistic research, curatorial practice and critical writing. 

Session 7: “Images for our times” will be led by the artist and filmmaker Eric Baudelaire (FR). It will take place from October 28 to December 13, 2019.

Images for our times will be structured around rituals and repetition. The program will not be production focused, but fellows will be encouraged to work on small projects, make images in Dakar, and share them with the fellows during dedicated weekly viewing sessions.

The curriculum will be shaped each week by the visiting faculty members: filmmakers and artists John Akomfrah, Mati Diop, Alain Gomis, Joana Hadjithomas and Khalil Joreige, Alfredo Jaar, Naeem Mohaiemen, curator and writer Rasha Salti, and film scholar Nicole Brenez.

Criteria

This session is open to filmmakers and artists interested in working with moving images, as well as film programmers, curators, researchers, and art historians with a commitment to the moving image.

Successful applicants are required to commit to being in Dakar throughout the duration of the session.

Applicants must be a graduate of an art school, curatorial programme, architecture school or any department of humanities.

Applicants must be fluent in either French or English and have a fair knowledge of the other. Successful applicants will be skype interviewed in both languages for assessment.

Benefits

The programme is tuition-free. Successful applicants will have to cover their travel arrangements (including visa), accommodation, insurance and costs of living in Dakar for 7 weeks. Depending on the work schedule, simple meals/snacks may be offered occasionally.

Details

Apply

Image: Eric Baudelaire, Also Known As Jihadi (still), 2017. Film.

[luminousera17]

The fact that one can think with certain films, and not simply about them, is the irrefutable sign of their value

Nicole Brenez, “T.W. Adorno: Cinema in Spite of Itself”

[publicfacing]

‘확장영화’를 주제로 한 세번 째 스터디 

일시: 2월 5일 금요일 오후 6시

스페이스셀 호스트, 이윤 발제, 김지환, 이수진, 권희수, 전수현, 정지헌 참여

텍스트: State of Cinema 2021, manifesto by Nicole Brenez titled, Projections. Provisionals. Provisions (click to open)

State of Cinema, ‘시네마의 상태’라는 주제를 갖고  2018년부터 매년 게스트를 초대하여 글과 영화를 발표하고 상영하고있는 Sabzian 소개

“New multilingual platform could further deepen the cinematic imagination, and thinking, reflection, and criticism are intimately linked to the art of film and the practice of filmmaking themselves.”

2021년 초대된 Nicole Brenez 소개

Figurative dimensions of cinema, 시네마의 은유적인 차원에 학문적 관심을 갖고 있음, 본인만의 “cinematic archaeology” 를 실천중임

“For Brenez, cinema is a mode of thought …based on visual splendor and temporal speed properties, which produces humanity. Experimentation, invention, the power of the image, the figurativeness of the subject, and the conceivable relations between cinema and history are central.

Vachel Lindsay “thought of the cinema not as a simple reflection, the redoubling of something that already existed, but as the emergence of a visionary critical activity. The cinema is for him that art which renders images first of all capable of detecting the structure of the present.” (http://www.screeningthepast.com/issue-2-classics-re-runs/the-ultimate-journey-remarks-on-contemporary-theory/)

State of Cinema, 즉 시네마의 상태: 확장되는 영화의 경계들, filmmaking 뿐만아니라 동시대의 이미지 프랙티스 “image practice” 의 움직임을 추적하는 Brenez

“The spectrum of image practices is constantly expanding.”

스터디 내용

아카이빙의 폐쇄적인 특성

Brenez 의 주장에 따르면 작가들과 기관들은 "디지털 해적질"을 옹호하며 실험영화의 장은 엘리티즘과 거리가 멀며  Luc Vialle 이라는 작가의 라루프 커뮤니티 작업을 예를 들고있는데...

이수진: 아카이브는 폐쇠적인 장소들이 많음

기관의 부분이 아닌사람들이 교육에 접근권 (access) 떨어짐

차학경 작가의 아카이브: 가족들이 보여지지 않기를 원하는 작업도 있고 버클리 뮤지엄 기관에서 큐레이터가 상당히 (감정적인) 관여를 하고 있음 

정지헌: 종이 한장씩 아카이브 하는 미국 도서관들, 그 곳에서는 필름 한장씩 볼 수 있음

“디지털 해적질”

State of Cinema 발췌

“bulk digitisation of works protects and raises the visibility of otherwise rare or even inaccessible works. Never before have cinephiles had such easy access to the corpus of engaged and experimental films, in versions that may be degraded but at least allow for consultation. Will this increasing accessibility generate more accurate and better informed histories? I would like to believe so, I am sure of it. Let us note here that the famous semi-pirate and non-clandestine site UbuWeb, a work of art by Kenneth Goldsmith, fierce defender of the phrase “piracy is preservation”, is now officially part of academic heritage, not only in its original electronic form, but also in book and microfilm form since, as everyone knows from experience, a sheet of paper has a longer life than a digital file. What future does the digital world have? The book.5 We see why the former has remained carefully anchored in the latter’s terminology: “page”, “folder”, “file”, “portfolio”, and even “graphics card”…”

About UbuWeb Ubu Web 에 대해

Excerpted & adapted from Duchamp is My Lawyer: The Polemics, Pragmatics, and Poetics of UbuWeb

Founded in 1996, UbuWeb is a pirate shadow library consisting of hundreds of thousands of freely downloadable avant-garde artifacts. By the letter of the law, the site is questionable; we openly violate copyright norms and almost never ask for permission. Most everything on the site is pilfered, ripped, and swiped from other places, then reposted. We’ve never been sued—never even come close. UbuWeb functions on no money—we don’t take it, we don’t pay it, we don’t touch it; you’ll never find an advertisement, a logo, or a donation box. We’ve never applied for a grant or accepted a sponsorship; we remain happily unaffiliated, keeping us free and clean, allowing us to do what we want to do, the way we want to do it. Most important, UbuWeb has always been and will always be free and open to all: there are no memberships or passwords required. All labor is volunteered; our server space and bandwidth are donated by a likeminded group of intellectual custodians who believe in free access to knowledge. A gift economy of plentitude with a strong emphasis on global education, UbuWeb is visited daily by tens of thousands of people from every continent. We’re on numerous syllabuses, ranging from those for kindergarteners studying pattern poetry to those for postgraduates listening to hours of Jacques Lacan’s Séminaires. When the site goes down from time to time, as most sites do, we’re inundated by emails from panicked faculty wondering how they are going to teach their courses that week.

Kenneth Goldsmith 의 작업인 Ubuweb 은 아티스트들과 학자들에게 유용한 자원이되고 Brenez 가 주장하는 바를 입증하듯 이 웹사이트 조차도 책으로 만들어져 아카이빙됨

“Ultimately these video and audio samples will accompany the printed or microfilmed version of UbuWeb as a set to be donated to Colorado College, who have offered long-term care of the item as part of their special collections related to the ‘future of the book’.” (accessed on 21 November 2021).

사이트가 다운되는 날에는 각종 기관들의 교수나 학생들이 수업준비를 어떻게 하냐는 문의 이메일이 쇄도한다고함 

이수진: 골드스미스의 작업이 크게 문제화된 적 있음 9/11 테러에 대한 라디오 뉴스를 작업으로 읽음 그리고 그의 파이러시는 결코 대중적이지 않음 

Ubu web 은 아카데미아, 예술가들이 활용하고있음

Dial H-I-S-T-O-R-Y, a 68-minute-long film by director Johan Grimonprez, 추천

(traces the history of airplane hijacking as portrayed by mainstream television media. The film premiered in 1997 at the Musée National d'Art Moderne Paris)

매체에 대해

이수진: 이미지가 이미지가 아닌 것에 대한 의문점

지난 스터디에서 본 Carolee Schneemann의 퍼포먼스의 디지털 아카이빙

우리는 결국 퍼포먼스, kinetic theatre 를 직접 관람하지 못하고 그 것을 아카이빙한 영상을 보며 작업은 결국 개념적으로 남음

반면에 틱톡은 보지 않으면 의미없는

이윤: 틱톡은 아무리 그 3초의 컨텐츠를 재밌다고 호소하고 그 내용을 설명해도 “봐야지만 실제하는 것인가”

전수현: 전애인과의 통화내용을 들으며 우리가 다시 그 때로 돌아갈 수 있을 것 같다는 착각

이윤: 박제된 사랑표현일 수도... (통화내역이 어쩌면 Brenez 가 지지하는 ���시대 실험영화 감독들의 “동굴에 남은 손바닥 자국”과 가까울 수도)

권희수: 이미지 포화상태에서 우리는 오늘날 죽음을 쉽게 소비하고 있다는 생각이 듬

셍명이던지 파일이던지…둘다

김지환: 필름이 복원되기 쉬운 매체라고 하는데 해일, 지진이 일어나면 정작 하드드라이브 뿐만이 아니라 필름도 없어지지 않나? 하는 의문이 듬

이수진: 하지만 필름은 통째로 없어지지 않음

이윤: Dianna Barrie된 필름 작업, 몇십년을 걸친 부패함을 발굴하고 복원하고 재편집됨: 결국 그 안에 서사와 얼굴들은 식별할 수 없고 ‘세월의 흔적’ 자체가 작업이 됨

전수현: 동굴의 손바닥을 목표로 필름을 만드는 것이 더 설득력있음

필름이 동굴의 손바닥에 대한 염원

권희수: “필름이 동굴의 손바닥에 대한 염원” 좋음

전수현: 1000년 뒤에 과연 앤디워홀 두샹이 남아 있을까??

살아남은 이미지에 대해

김지환: 이만희의 <휴일> 은 정치적 검열 때문에 살아남지 못했을 뻔함

반면에 Brenez의 텍스트에 등장하는 La Loupe 가 반가움 

페이스북의 아카이빙의 공간, 16000명의 참여한 라루프 시네필 커뮤니티는 희귀한 영화를 디지털 파일로 이동시키는 작업을 함 

라루프가 없어지면서 중요한 커뮤니티가 손실되었다는 생각에 안타까움: 해적질 커뮤니티가 없어지는 것이 이미지의 소실한 다는 것을 의미하는 것인가

폐쇄적인 온라인 해적질 커뮤니티

김지환: 공유가 작가주의를 없애지 않지않나? 오히려 더 보존하지 않나?

정지헌: 작가의 권리가 침해된다: 저작권문제

김지환: 카라가가와 같이 희귀영화만 취급하는 사이트도 있음 

이윤: 수집하고 아카이빙 하고싶은 욕망인 것인가

김지환: 희귀한 영화를 올려야 다운받을 수 있음, 이런 방식으로 유통됨

비밀조직 정보력을 갖고싶은 욕심. 할리우드 영화 올리면 강퇴.

Film-links >discord > 해적질 인바이트를 받아야함

정지헌: 오타쿠문화와 비슷하지 않은가

발제내용

동시대 technical (기술적인 수학적인) 이미지들, 과학기술 발전사업의 생산물- 이 사업을 conquest 지식 영역 정복, 제국주의, 식민지 지배국의 끝없는 점령들과 연결지음

이시대에 (무빙)이미지를 만드는 필름메이커들은 어떤 이미지들을 가치있게 여길 수 있는지에 대한 선택권이 있다는 것을 상기시켜주는 텍스트 (비록 인류학적으로 결코 장대한 결정이 아니일지어도)

These images are the result of so many reconstructions/transfers/conversions/interpretations/cosmeticisations that technico-scientific accuracy now only amounts to the so-called “RAW” sphere, that of raw data, distinct from the iconography that can be derived from it.

Since the Western Renaissance, images have been part of a scientific enterprise, the conquest of the visible and then of the invisible, which also diffracted into the imperialist and colonial conquest of physical territories, masterfully reflected – each in their own way and almost simultaneously – in René Vautier’s Déjà le sang de mai ensemençait novembre (1982) and Angela Ricci Lucchi and Yervant Gianikian’s From the Pole to the Equator (1986).

Technical images have invaded our everyday life. Without them, electronic societies can no longer function, as everyone in the First World has been able to experience in these pandemic times. Woven into every aspect of our everyday life, like emissaries of mathematics, images now seem to be nothing but the sweet reverse of our ignorance. Compensation, reassurance, allegiance to protocols... nolens volens, and rather nolens, they chain us to the myriad mass of ever more numerous, tight and knotted ties.

Every nanosecond produces more images (of surveillance or self-control, industrial or personal...) than the entire history leading up to Nicéphore Niépce’s research. What images or aggregates of contemporary shots will history retain, which ones will we need, which ones will we give our love?

As humans, we are now aware that humanity, and in particular its Western part, proves to be the most toxic, predatory and absolutely insane species on planet earth, to the point of destroying our own habitat.

– As cinephiles, we have by now come to understand that cinema, as a child of the industrial world, represents the lavish spending of natural resources, most of it useless and harmful to the imagination. As our existence as a species threatens the whole of the living, the films of the 21st century are figuring out how cinema can free itself of its anthropocentric and industrial determinations.

“Nature, the inexhaustible resource of encounters worthy of speechless communication”, Fergus Daly makes Abbas Kiarostami say about the Aran Islands, one of the navels of documentary cinema, during an excursion.7

기술적 apparatus, 즉 이미지를 얻기 위한 장치들을 제조하는 회사들의 이해관계와 얽혀있는 이미지 프로덕션

Many are stored, according to technical methods that ensure they will soon no longer be readable or even available for consultation, unlike the negative handprints in cave paintings, of which the oldest that have been found to date, in Borneo, date back 51,800 years.

All of them declare themselves to be driven by the same perspective, which is both common sense and opposed to the interests of equipment manufacturers relentlessly favouring turnover and obsolescence.

Within this increasingly massive production, which at present seems as unlimited as it is irrepressible (this belief is probably one of the main characteristics/illusions of our time)

At one nexus of the rhizome: the turnover of technologies of reproduction, planned obsolescence, the domination of a few sad archetypes, the empire of panoplies (풍분히 방허된 안전한)

매체들 

사설의 자원들, 레바논에서 공적인 기관에서 정치적 부패에 에너지 공급 중단…> 에 의존하고 있는 이미지메이킹 <>저항하는 필름메이커들 

A digital medium lasts about 5 years; an analogue film, in proper conservation conditions, about 400 years.

적당한 환경에서 보존된다면 400년간 지속되는 매체 필름

이만희 감독의 “휴일”, Dianna Barrie 의 인도네시아 필름 작업

Digital medium: unreliable 안정적이지 않은, 안전이 보장되지 않는 

The day your electricity is cut off, as in destroyed Lebanon, only books and photograms remain. 

How can cinema rise to the contemporary challenges and become a life force again? All over the world, filmmakers are exploring new solutions of a technological, iconographic or symbolic nature – but probably less so to save or prolong cinema than, more obscurely, to garner images of the living that will outlast the living and, with no one looking at them, will populate an uninhabited earth, like statues still standing in the desert sand.

The film arts still require specific spaces and tools, ever more numerous, miniaturised and intrusive, with which living beings rig out any object and increasingly rig out themselves.

Nothing escapes identification or control any more. 

아티스트들:

디지털 해적질의 찬성하는 입장: 이미지 보존의 유일한 방법 (작가주의와 정반대) 

And how, since the key initiatives of Guy Debord, Jean-Luc Godard, Harun Farocki, Hartmut Bitomsky, Michael Klier... has cinema taken charge of its own technological environment and the issues that arise with this? The current works of Andrei Ujică, Lech Kowalski, Mauro Andrizzi, Bani Khoshnoudi, Lawrence Abu Hamdan, Jacques Perconte... seem particularly valuable here.

in the 21st century, there are many great analogue-film artists: obviously Peter Tscherkassky, whose Train Again, according to Paul Grivas, was the only film screened on 35mm at the 2021 Directors’ Fortnight at Cannes, but also Ange Leccia, Tacita Dean, and Silvi Simon, who celebrate not only celluloid but the whole of analogue instruments (camera, projector, etc.) which are transformed into gems in their installations. 

there is also Jérôme Schlomoff, who is capable of making superb 35mm pinhole cameras. 

In all of these cases, the practice and defence of analogue film are not be considered old-fashioned and nostalgic, but rather proleptic and responsible

Let us note here that the famous semi-pirate and non-clandestine site UbuWeb, a work of art by Kenneth Goldsmith, fierce defender of the phrase “piracy is preservation”, is now officially part of academic heritage, not only in its original electronic form, but also in book and microfilm form since, as everyone knows from experience, a sheet of paper has a longer life than a digital file.

Among these reflexive histories, many set out to unearth forgotten, censored, never-seen images and events, as do for example Yervant Gianikian and Angela Ricci Lucchi, John Gianvito, Hu Jie, William E. Jones, Susana de Sousa Dias, Mary Jirmanus Saba, Dónal Foreman... 

– manufacture their own cameras (Jérôme Schlomoff), emulsions and celluloid film (Robert Schaller, Alex MacKenzie, Esther Urlus, Lindsay McIntyre...);8

영화의 역할 (미래지향적인 proleptic cinema): 더 평등한 사회를 지향하며 ..

살아남는 이미지들은 사회에서 허용되는, 볼 수 있고, 인식할 수 있는 범위들 안에서 생산괴고 그렇지 않은 것들은 암흑속으로 던져지는 정치적인 요인들을 인식하게 하는 작업들 소개..

Cinema is one of the places that allows us to reflect on the relationship between technical images (produced by technology, mathematics, etc.) and mental images: how the former provide the means of representation for the latter, how the latter serve as potential for the former... 

The two series co-written by Jean-Luc Godard and Anne-Marie Miéville, Six fois deux/Sur et sous la communication (1976) and France/tour/détour/deux/enfants (1977), started one of the rare major projects for questioning such epistemological exchanges. Does, or will an equivalent exist in the 21st century?

They form as many chapters and openings for a critical history in which the massiveness and complexity of the practices of covering up, censorship, absenting, repression and even assassination (William E. Jones, Killed, 2009) demonstrate that just as every image, as a plastic subject, consists of a structuring dialectic between champ and hors-champ, latent and patent, visible and invisible, so too, as a historical object, it will always confront the codes of what is acceptable, watchable and intelligible, at times plunging it into a dark abyss. 

CONTEMPORARY PROLEPSES

We borrow this term from the filmmaker and theorist Edouard de Laurot: by “proleptic cinema”, de Laurot meant cinema that, in the present, seeks and cultivates the seeds of a fairer future. Mostafa Derkaoui, among others, developed a similar conception in About Some Meaningless Events (1974).

확장되는 영화의 경계

The spectrum of image practices is constantly expanding.

기존에 생산된 이미지들이 쉽게 접근할 수 있는 형식으로 아카이브되어 돌아보며 재조명할 수 있는 프로젝트들

봐주는 사람이 없더라도 자동적으로 아카이브되는 이미지들 

Everything is installed, arranged, optimised, dubbed, secured, stored, without any need for one who looks. 

cheerful and perceptive observations of Slovenian curator Jurij Meden (Jurij Meden is a curator at the Austrian Film Museum in Vienna), who analyses or invents the most experimental screening gestures possible, for example by alternately projecting a 35mm reel of Over the Top (1987, Sylvester Stallone) and one of King Lear (1987, Jean-Luc Godard), through the end of both films – produced by Menahem Golan in the same year – for a session entitled King Lear Over the Top Dedux.2

시네필 커뮤니티 공동작업

Luc Vialle’s sui generis suggestions on the web page La Loupe. An electronic Decameron, La Loupe made for one of the most generous, lavish, disinterested and effective collective experiments in cinephilia during the first extensive pandemic lockdown. For 17 months (March 2020 – July 2021), La Loupe allowed thousands of people around the world (up to 16,000) to exchange files of unreleased films, texts, ideas, information and suggestions in a spirit of effervescent discovery. 

The term “curation” – implying at the same time care, programming, cleaning (of the imaginary) and healing – for once took on its full meaning.3

, the common term “extra” [“figurant”] remains deceptive within the documentary field, where the body does not signify anything other than itself; and we need to invent names for their different plastic states, figurative statuses, modalities of presence... 

3. Possible Future

No more tools to create films. Nanochips are implanted in the optic nerves of living beings, sending them unlimited doses of images and sounds. Art schools are integrated into medical academies and hospitals, where one is taught the dosage of images. Antonin Artaud’s texts on the subject of cinema are no longer regarded as ramblings but as manuals.

Many resistance fighters have refused the implantation, gone underground and continue to create images and sounds with ancient instruments, preserved or created from scratch.

4. Desired Future

We stop thinking of cinema in terms of tools and commerce. We return to content, to the issues at stake, we pay the same attention to films as we do to frescoes or to the tiniest flower woven into the tapestries of The Lady and the Unicorn. Any chain of moving images is considered a film, and any unchaining of meaning is considered a major event. The spectrum of forms continues to expand, and suddenly cinema proves to be as rich formally as poetry, music, the biosphere.

“씨네마” 에 대한 경험: 기술적인 장치로부터 벗어나 자연적인, 시적인, 사람과 같은 완전치 않은 본질로의 회귀

the La Clef Revival experiment, which consists in saving the last collective cinema in Paris, an idea of cinema and through this of human existence.

The groundwater that feeds the artesian well of Jean Epstein’s reflections has a name: Arthur Rimbaud. Rereading Jean Epstein’s analyses of Arthur Rimbaud’s writing today, we notice that they abound in the qualities that Epstein would later transpose to the cinema he hoped and prayed for. Exactly one hundred years ago, Jean Epstein published the following lines in the magazine L’Esprit nouveau: “A poet so respectful of poetry that he wanted in its presence neither rules, nor laws, nor science, nor criticism, nor translation, nor order, but only poetry shivering naked in a mind; intelligent, too intelligent, he discovered, bent over himself, the poetry of intelligence, the poetry of intellectual associations, of sudden understanding, of illuminations, of pyrotechnics in which thirty ideas at once flare up, roar, fuse, rustle and smell; images that do not make us see, but make us discover, foresee, anticipate and understand; images whose slipknot flashes and falls, an unexpected lasso, on napes untouched by a collar, images given to us, quivering with endless freedom; images naked and, at the peak, of a new kind; an inventor who was the first to use ellipsis, who blurs eras and dates, folds and unfolds them like the panoramas sold near viewpoints in Switzerland, who launches concision, precision and suggestion, who pierces the future and the present with one move, who adjusts writing to thought, who sets traps to capture the momentary, the ephemeral, the sudden, the mobile, the living; who discovers a new rhythm, a thought, a new way of thinking; a visionary, he sees all relations, the miracle continues; a pagan, he does not conform to marble but to life; unexpected, acute and sharp, he sees correspondences, he attunes sound to colour, and colour to form, form to rhythm; he wants a poetic language accessible to all the senses.”6

The spring never dries. Even today, the central bed of the cinema-river remains that which, in the films, proves to be true to life, to the mysteries of its energy, as opposed to the rules of socialised existence. 

A.I. At War 기술을 어떻게 하면 작가들의 편으로 교육할 수 있는지에 대한 영화 소개

Sota brings us news from the very real hell that only humans are capable of creating on earth, showing us how a system’s agents become its victims.

Sota teaches us that we too, when faced with an image or phenomenon, would do well to begin our sentences with: “I believe that the probability of what I see is...”, a numerical version of the Cartesian evil demon, the one who encourages us to doubt everything.

______________________________________________________________________

Afterthoughts on Security of Digital Medium

Data Centers

What would happen if an Amazon Web Services data center got bombed? Would all the data be lost?

Foiled AWS Data Center Bombing Plot Poses New Questions for OperatorsTargeting of data centers is a new development. Experts believe the incident should spur review of physical security posture, investment in dark-web monitoring.

Chemical Components of Developer and Fixer 

Developer: sodium carbonate or sodium hydroxide are often added to the mix

Stopbath: A common chemical used in stop baths is acetic acid. While the developer could also be washed off with water, using acetic acid is both quicker and more thorough

Fixer: Common fixing chemicals are ammonium thiosulfate and sodium thiosulfate

Film artists at WORM Rotterdam exploring photochemical processes