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Video essay-tribute by Catherine Grant The above is a very short study of a sequence from Diálogos de exiliados/Dialogues of Exiles (France, 1974/5), an extremely low-budget film written and directed in Paris by the late and much lamented Raúl Ruiz . Diálogos was the first film to be made by that filmmaker in exile from Chile, with many of his countrymen and women, after Augusto Pinochet's 1973 coup d'état against the legally elected Popular Unity government of Salvador Allende. Controversially, at the time, it wasn't exactly the most conventional, or, despite its satire, the most crowd-pleasing 'exile' or 'solidarity' film that could have been made in those circumstances.
Video Essays
Canadian director Guy Maddin makes movies that look nostalgic but feel modern. Often using black and white film and techniques from Silent Cinema like intertitles, live musical accompaniment and expressionistic acting, Maddin's unusual movies have been favorites at numerous international film festivals. Now the exuberantly creative director is punching up the movie going experience to make it even more like the cinema of yesteryear, showing his most recent feature Brand Upon The Brain!
Guy Maddin, Director - Gothamist
Interview - Guy Maddin
It's safe to say nobody makes films quite like Guy Maddin. His surreal, Freudian melodramas, inspired by the early days of cinema, have steadily built up a cult following over the years, through Maddin's many shorts and features. His latest film, My Winnipeg , is a documentary that explores both the history of his hometown and his own family history, with the two becoming inextricably linked as Maddin shares one outlandish story after another with us. Maddin was recently in London to promote the film, and the below interview took place the morning after My Winnipeg 's screening at the National Film Theatre, an event for which Maddin provided live onstage narration.Guy Maddin makes movies unlike any others. His signature style draws on the look and feel of silent films, and his stories trace their roots back to the cinema of German Expressionism, campy horror, and the avant-garde. Since May 9, he's been touring the country presenting his new Brand Upon The Brain! in an unusual live setting: While the film flickers onscreen, a narrator will read live while musicians and Foley artists create the soundtrack in real-time. (For a schedule of performances, visit the film's official site .) The A.V.
Guy Maddin | Film | Interview
Entretien avec Guy Maddin sur Culturopoing
Guy Maddin, trublion du cinéma Canadien, développant depuis une vingtaine d’année une esthétique début de siècle noire et épileptique, sort le 24 septembre prochain son dernier long-métrage « Des trous dans la tête ! », dont vous pouvez lire la chronique enthousiaste ici. Nous l’avons rencontré chez son distributeur français, E.D. Distribution, qui se bat depuis une dizaine d’année pour faire découvrir aux spectateurs hexagonaux ces films qui ne tournent jamais tout à fait ronds… Après « The saddest music in the world », film à part dans votre carrière par son ampleur, quel était votre état d’esprit pour entamer ce nouveau projet ?
Guy Maddin | Interview
Once among the most obscure cult filmmakers, Canadian pop avant-gardist Guy Maddin has been poking his head out of the underground, landing three features in U.S. arthouses in the last two years: the ballet Dracula: Pages From A Virgin's Diary , the autobiographical museum exhibit Cowards Bend The Knee , and The Saddest Music In The World , which stars Isabella Rossellini as a Prohibition-era Winnipeg beer baroness who sponsors a competition to determine which country produces the saddest music. Since Maddin's aesthetic encompasses both dry wit and overt distancing effects (like smeary lenses and old-timey transitions), his work until now has been just a few shades away from broad likability. Maddin employs elaborate sets, but with a cardboard-cutout quality, and his deadpan humor is dispensed via blatantly artificial dubbing. His films evoke silent-movie expressiveness, but with the knowing wink of postmodernism and experimental film.
Following a trend begun in Mediascape ’s Spring 2008 issue , we are once again showcasing a selection of visual essays. As Eric Faden observed in “ A Manifesto for Critical Media ,” while media continues to move forward, we as scholars need to follow suit and embrace the new technologies available to us for our scholarship. This means expanding the traditional tools utilized by media scholars such as primary archival research, textual analysis, literature review, the written word and the occasional still image, by using moving images to engage and critique themselves, to illustrate theory, or to reveal the labor of their own construction.
Mediascape
Colloque international "Image & Imaginaire dans l'oeuvre de Maurice Blanchot" - Nanterrre 27 & 28 avril 2007 - Site Maurice Blanchot et ses contemporains
vendredi 22 février 2013 Programme de la journée d'étude, "Lectures d'"une scène primitive" de Maurice Blanchot" (Organisation Hugues Choplin & Eric Hoppenot), Paris, 5 avril 2013. Entrée libre dans la limite des places disponibles. Par Eric Hoppenot le vendredi 22 février 2013, 11:25 - Colloques " Ce qui se passe ensuite : le ciel, le même ciel, soudain ouvert, noir absolument et vide absolument (...)"
vendredi 22 février 2013 Programme de la journée d'étude, "Lectures d'"une scène primitive" de Maurice Blanchot" (Organisation Hugues Choplin & Eric Hoppenot), Paris, 5 avril 2013. Entrée libre dans la limite des places disponibles. Par Eric Hoppenot le vendredi 22 février 2013, 11:25 - Colloques
Paul-Emmanuel Odin, "L'absence de livre [Gary Hill et Maurice Blanchot - Ecriture, Video]", éditions Les Presses du Réel, 2008 - Site Maurice Blanchot et ses contemporains
Extraits de l'article paru dans la revue papier. "Les deux versions de l’imaginaire En 1955, dans L’Espace littéraire, Blanchot place l’écriture littéraire sous le signe de la fascination provoquée par l’image. La fascination est ainsi opposée à la maîtrise traditionnellement attribuée à la vue : voir suppose une distance qui évite le contact et la confusion, qui permet la rencontre et la maîtrise de l’objet ; la fascination relève au contraire du domaine d’un voir qui ne saurait plus se soustraire à un contact saisissant, où ce qui est vu s’impose au regard. D’après une conception courante, l’image viendrait après l’objet qu’elle re-présente, dans un après qui suppose une subordination ontologique en même temps qu’un rapport chronologique, tout comme le langage poétique ou littéraire viendrait après le langage quotidien destiné à la « communication » et à la transmission de messages.
Entre Blanchot et Derrida : de l’image spectrale aux cimetières virtuels | CHIMERES
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