Autorenfilm: A Process of Enlightenment on Notebook. Above: Reading of the Oberhausen Manifeso before the West German press.
In 1962, twenty-six West German filmmakers—including writers, directors, producers, and an actor—declared the Oberhausen Manifesto at the 8th Oberhausen Short Film Festival. To celebrate the 50th anniversary of the manifesto, the festival organized the retrospective “Provoking Reality: Mavericks, Mouvements, and Manifestos,” in which they screened nearly forty short films by the manifesto’s signatories. (Earlier this year, Daniel Kasman wrote about several of the retrospective's shorts in his report from the festival, "Manifestations".) This week, the Museum of Modern Art will also screen a selection of them from September 27th through the 30th. Out of these new films, a Junger Deutscher Film (Young German Film) emerged to counter the established film industry and the conventional German entertainment of the 1950s. Above: The 8th Oberhausen Short Film Festival. Technologies of History: Visual Media and the Eccentricity of the Past - Steve F. Anderson.
Donde Yace La Sonrisa Escondida. De arte contemporáneo es justamente la de dar idea, en el momento que dura el pase, de laimpureza de toda una idea” .Los Straub se convirtieron en modelos paradigmáticos de estamodernidad, buscando la complicidad de textos, teatro, música o ópera para evidenciar supostura cinematográfica respecto a términos como el realismo de las imágenes.
La cámarade los Straub “no filma (...) el mundo, sino la materia de las obras de arte” caminando porlos límites de la reproducción .Una curiosa. Straub-Huillet: "El grado cero de la representación" Tengo que empezar agradeciendo a José Francisco Montero e Israel Paredes, los autores de Imágenes de la revolución (Shangrila Textos Aparte, 2011) que aceptaran darme el pie para este texto.
Todavía un poco mareado por tener que trabajar sobre un libro como el suyo, turbulento y complejo por representar un choque profundo entre la ideología y su materialización, quise empezar por preguntarles qué importancia consideraban que podía tener en nuestra sociedad la teoría que proponían y, por extensión, una visión crítica del pasado a través del cine. José Francisco Montero: Intentaré esbozarte una respuesta, pero más que una visión crítica del pasado me interesa una visión crítica del presente (concepto etéreo como pocos, tal como señalo en el texto con la ayuda de Borges (1) ) a través de cómo afrontar la representación del pasado.
Por otro lado, sí es verdad que, aunque pretendiendo analizar y entender estas dos películas en particular, el texto aspira a tener una dimensión más amplia. Abril 2012. El cartel ideado (¿diseñado?)
Por Asier Mendizabal para la 73 Edición de la Quincena Musical de San Sebastián es una pieza artística. Authenticity-as-a-political-act-straub-huillets-chronicle.pdf (application/pdf Object) JonathanRosenbaum.com. The Castle Made for Austrian TV, Michael Haneke’s serious and reasonably faithful 1997 adaptation of Kafka’s best novel isn’t the best or most interesting film made from the writer’s work; I’d give that honor either to Orson Welles’s flawed but fascinating The Trial (1962) or to Jean-Marie Straub and Daniele Huillet’s eccentric rendition of Amerika, Class Relations (1983).
But this is almost certainly the truest interpretation of one of Kafka’s novels, all of which were left unfinished; it even literally ends in the middle of a sentence. If memory serves, there’s plenty of Kafka’s humor here as well. 123 min. (JR) The Comforter. Blog Archive » Straub-Huillet’s ÉCRITS and a Few Comparable Insights. Es.knowledger.de. Straub et Huillet. .
Louis Seguin. Jean-Marie Straub. Am 8.
Januar 1933 in Metz geboren, wächst Jean-Marie Straub zunächst französischsprachig auf, wird aber im Zuge der deutschen Besetzung gezwungen, in der Schule deutsch zu lernen. Während seines Studiums in Straßburg und Nancy, das er 1951 aufnimmt, ist er bereits Leiter eines Filmclubs in Metz. Als er 1954 nach Paris zieht, lernt er seine spätere Frau Danièle Huillet kennen – die beiden arbeiten fortan eng zusammen. A glance at Jean-Marie Straub and Danièle Huillet’s "Chronik der Anna Magdalena Bach" on Notebook. TIFF 09: "Le Streghe, les femmes entre elles" (Jean-Marie Straub, France/Italy) on Notebook. Above: Le streqhe.
"Beauty in art reminds one what is worth while. I am not now speaking of shams. Tuesday Morning Foreign Region DVD Report: Three Films by Danièle Huillet and Jean-Marie Straub on Notebook. When considering the paucity of works by the filmmaking team of Danièle Huillet and Jean-Marie Straub available in the DVD format, it behooves one to also consider the question of whether their works ought to be viewed (and audited) on a television or video-grounded home theater in the first place.
A conversation on this very topic, which I suppose ought to have started here, began on my own blog a couple of days ago. I put up a post in which I passed along what I believed to be a funny bit of banter between myself and my wife, which banter occurred while I was watching the New Wave Films Region 2 UK double-DVD set of three films by the collaborators Danièle Huillet and Jean-Marie Straub: their debut "feature," and probably best-known film, 1968's Chronicle of Anna Magdalena Bach; 1998's Sicilia!
A picture with some extra cinephilic interest, as its editing is chronicled in Pedro Costa's film Where Does Your Hidden Smile Lie? ; and the second version of 2004's A Visit to the Louvre. Locarno 2011. Old and New Straub on Notebook. Above: Un héritier (2011).
According to my best available sources, the first Jean-Marie Straub/Danièle Huillet film to appear at the Locarno film festival was their 1994 short, Lothringen! (All corrections and updates to this are welcome.) This turns out to be perfectly appropriate for the appearance of Straub in Locarno circa 2011, in which new and old work appears in three separate programs, including a revival screening of Lothringen! Politics and Aesthetics in the Straubs’ Films on Notebook. Jacques Rancière, Philippe Lafosse and the public in conversation about Straub-Huillet after a screening of From the Clouds to the Resistance and Workers, Peasants. Straub Anti-Straub. Pedro Costa describes his Où gît votre sourire enfoui? (2001) as “anti-Straubian.
It’s the opposite of the way [Danièle Huillet and Jean-Marie Straub] do things.” (1) And yet the movie, indeed, is also about “the way the Straubs do things – and maybe the best movie ever made about making movies.” (2) Lacrimae Rerum Materialized. I first met Danièle Huillet and Jean-Marie Straub in 1975. They were in New York to present Moses und Aron (Moses and Aaron, 1974) at the New York Film Festival.
They came to our apartment, sat on the floor, watched 16mm prints of John Ford’s Pilgrimage (1933) and Donovan’s Reef (1963), and loved them. Jean-Marie blushed red and said what he was trying to do in cinema was a combination of John Ford and Kenji Mizoguchi. The Straubs’ adoration of Ford perplexed Richard Roud, the New York Film Festival’s director, who had published the first book on the Straubs and who execrated Ford as their antithesis. Roud’s attitude was normal. Today things have changed.
Even in Europe, many (but not all!) Don’t these champions see the combination of Ford and Mizoguchi? And don’t we all talk too much about the Straubs’ “texts” , whereas what is wonderful is the sensuality and passion? “We want people to lose themselves in our films” , the Straubs told me.