Format 16 mm colour
The term ‘visual arts’ that is prevailing in modernity is really a symptom for the reduction of perceptional categories within the human creativity as a whole. An anthropological conception of art – and I have proved for instance in sculptural theory that you hear a sculpture before you see it, that consequently the auditive element is not just an equal part, but a constituent of the perception of plastic art – confronts you with the task of exploring the conception of creativity in all directions, of spreading it out and substantiating it anthropologically. So for instance, the human creativity potential as a whole doesn’t only comprise the recognition criteria in thought, but it also comprises the sensational categories in the middle of the soul, that is, the moving element, and it positively comprises the will potential in human will. It is this interpretation of human creativity potential, beginning with the triple position, the connections of will, sense, and thought categories, which will get you to the more differentiated position of considering the perception, too, and thus the connection of human senses, discovering that for example seeing, the visual sense, the auditory sense, the static sense, the architectonic sense, the haptic sense, can be thought forward into the sense of feeling, the sense of will, the sense of thinking, and many other still to be developed senses. Continue reading
NB: there is no audio track: Maenza’s films were never mastered or fitted with sound. This rip comes from a digitized work print. His films were sometimes screened with live voice performance commenting on and/or enacting what unrolls visually. The text that was read by performers during the few screenings this had at the time it was made can be read HERE (or via googletranslate)
In December 1968 I participated in the film Orpheus Shot on the Battlefield, which originated as a collective work, a movie without an author, but which would ultimately be attributed to Antonio Maenza in the end even though he only played the role of the director in the film. The film, which was never provided a soundtrack, was screened on several occasions with a soundtrack performed live consisting of a text for three voices and a number of musical pieces, among which were the “descent into hell” from the opera L’Orfeo by Monteverdi in the version by Edward H. Tarr, released in 1968 by Erato, “New York 1963 – America 1968” from Every One of Us by Eric Burdon and the Animals; and “The Return of the Son of the Monster Magnet” from Freak Out by [Frank Zappa and] The Mothers of Invention. After the “state of emergency” in January 1969, an epilogue was shot but it was never developed. Continue reading
This film stands out as a fine example of the Zanzibar movement in France, and as a metaphor for the spirit of repression lived during that era. The film itself was recorded mostly near german concentration camps, and the crew had a lot of problems with the police, nonetheless they managed to shoot a really wonderful film, a continous portrait of escape through dark and gray landscapes much to the reminder of the wonderful text by Gorky, which starts: “Last night I was in the Kingdom of Shadows”.
–fitz Continue reading
More sombre, controlled and abstract than Bene’s earlier work, this is a baroque, ironic and claustrophobic avant-garde ‘restatement’ of the opera’s incest episode. Accompanied by Mozart’s score, this compulsive, cubist fragmentation of conventional plot in favour of a more profound exploration also utilizes complex, subtle montage, varying from minimal cinema to a sustained staccato rhythm. Bene is reconfirmed as one of the true iconoclastic talents of contemporary cinema. Continue reading
Sohrab Shahid-Saless was born in Tehran in 1943 and lived in Tehran. He studied film in Vienna and Paris. After returning to Iran, he first worked for the Ministry of Arts and Culture, where he made 22 films. In 1976, he left Iran for Germany, where he worked as a filmmaker until 1991, then moving to Chicago. He died in Washington DC in June 1998.
In his first feature, the milestone film A Simple Event (1973), he describes the everyday life of a ten-year-old boy living in a small town with an ill mother and a father struggling to make a living smuggling fish. Continue reading
Le Démon du passage (The Demon of Passage)
35 mm – 14’ – 1995
“Fictional” reconstruction of the chain of mental images that make the visions of the photographer Jean-Luc Moulène appear. Continue reading
Canada / 13:30 min. / 1967
sound / color
“In Catfood Wieland shows a cat devouring fish after fish for some ten minutes. There seems to be no repetition of shots, but the imagery is so consistent throughout–shot of the fish, the cat eating, his paw clawing, another fish, the cat eating, etc.–that it is just possible the shots are recurrent. There is no question that Wieland has a unique talent.”- P Adams Sitney, Film Culture
“A cat eats its methodical way through a polymorphous fish. The projector devours the ribbon of film at the same rate, methodically. The lay of Grimnir mentions a wild boar whose magical flesh was nightly devoured by the heroes of Valhalla, and miraculously regenerated next morning in the kitchen. The fish in Wieland’s film, and the miraculous flesh of the film itself, are reconstructed on the rewinds to be devoured again. Here is a dionysian metaphor, old as the West, of immense strength. Once we see that the fish is the protagonist of the action, this metaphor reverberates to incandescence in the mind.” – Hollis Frampton Continue reading