Third part of an experimental television program led by Grandrieux questionning TV flux aesthetic, this film focuses on a single interview with Jean-Louis Schefer who delivers his hypothesis on man-made images of itself. Read More »
Philosophy on Screen
Andrew Wyeth’s letter to Vidor wrote:
“For years I have wanted to write and tell you that I consider your war film The Big Parade the only truly great film ever produced. Over the years I have viewed the film many, many times and [with] each showing the certainty of its greatness deepens…I have always viewed it with awe and must tell you that in many abstract ways it has influenced my paintings.” Read More »
Roberto Rosselini directs this fascinating program tracing the life and work of 17th century French mathematician, religious philosopher and physicist Blaise Pascal, who made pioneering contributions to the fields of geometry and probability. The legendary Rosselini created this television film as part of a remarkable series geared toward illuminating the evolution of knowledge and history in Western civilization. Read More »
Rossellini, 1973: One makes films in order to become a better human being.
The New York Times, : Just watching Rossellini’s magnificent work may help a bit in that department as well.
In the final phase of his career, Italian master Roberto Rossellini embarked on a dramatic, daunting project: a series of television films about knowledge and history, made in an effort to teach, where contemporary media were failing. Looking at the Western world’s major figures and moments, yet focusing on the small details of daily life, Rossellini was determined not to recount history but to relive it, as it might have been, unadorned and full of the drama of the everyday. This selection of Rossellini’s history films presents The Age of the Medici, Cartesius and Blaise Pascal – works that don’t just enliven the past but illuminate the ideas that have brought us to where we are today. Read More »
»Der Entschluß steht fest, das KAPITAL nach dem Szenarium von Karl Marx zu verfilmen«, notierte Sergej Eisenstein am 12. Oktober 1927. Eisenstein, der mit Panzerkreuzer Potemkin (1926) die Filmsprache revolutionierte, wollte Marx’ Buch »kinofizieren«. Die Herausforderung, die von einem solchen Werk ausgeht, so glaubte Eisenstein, würde die Filmkunst von Grund auf umrücken. Ihm schwebte die Anwendung völlig neuer, von James Joyce’ Ulysses abgeleiteter Formen vor: »faits divers«, »emotionale Konvolute« und Reihen »dialektischer Bilder«. Read More »
My film As You See is an action-filled feature film. It reflects upon girls in porn magazines to whom names are ascribed and about the nameless dead in mass graves, upon machines that are so ugly that coverings have to be used to protect the workers’ eyes, upon engines that are too beautiful to be hidden under the hoods of cars, upon labor techniques that either cling to the notion of the hand and the brain working together or want to do away with it. Read More »
A cultural documentary that uses some of the central ideas of 19th century German socialist and philosopher Karl Marx to try to make sense of the global financial crisis of 2008-09. This crisis prompted the U.S. government to spend more than 1 trillion dollars in order to rescue its banking system from financial meltdown. But can the largest financial losses in history really be put down to the natural risks and uncertainties of the free market? Or is there another explanation as to why the crisis happened and what its implications are for the future of our society, our economy, for our whole way of life? Read More »