jack rose Posted January 17, 2006 Report Posted January 17, 2006 (edited) jok ovo je stan brakhage act of seeing with one's own eyes odn 30 najnepodnosljivijih minuta tisine ikada zabelezenih u formi pokretna slika kurt kren & otto muehl su prilicno opaki sa scatolosko-escatoloskim performance art-om mislim da ce nas izbaciti veceras naglavacke vlasnik kocke & korifeji & lezbo konobarica haha barem da ode(m)(o) sa stilom kentishonac imao si dobre namere Edited January 17, 2006 by jack rose Quote
Angelystor Posted January 17, 2006 Report Posted January 17, 2006 Pink Flamingos - najveca avangarda od sviju Quote
Guest Isus Bezbozhnik Posted January 26, 2006 Report Posted January 26, 2006 Faster Pussycat Kill... Kill supervixens istog autora su atraktivnije i u boji obavezno Quote
jack rose Posted January 30, 2006 Report Posted January 30, 2006 (edited) 2morrow /art kafe kocka/19 h Chaotic Cinema + trovanje iznutra (lovin'celebration party + shamanic erotic dance macabre ) Based on his autobiography Baal Babylon, Viva La Muerte is the first film directed by Fernando Arrabal, an iconoclastic and controversial multi-disciplinary artist considered a genius. Highly regarded for his prolific work Arrabal, who has nearly 150 books to his credit (short stories and collections of poetry), 70 plays and 7 films, is also the co-creator (along with Roland Topor and Alexandro Jodorowsky) of the famous Panic Movement, a collective celebrating the god Pan through diverse works and performance art mixing various means of expression and artistic movements. For his first film, a surrealist autobiography, Arrabal chose to exorcise a trauma tied to childhood scars. Stopped at the beginning of the Spanish Civil War for being opposed to the military coup, his father—an officer—was condemned to death and imprisoned until he escaped and disappeared without leaving a trace. By using this premise as the base of his film, Arrabal helps himself to the relationship between a young boy, Fado, (Mahdi Chaouch) and his mother (Anoek Ferjac) to approach different themes, from politics to religion as well as sexuality. The two protagonists are contrasted, each one is subjected to his own demons, and to forces that make them oppose and attract each other. Fado is thus under the castrating influence of his mother. Attracted to her, the most beautiful woman in the village, he is ashamed of his own desires and Oedipal impulses, but also of the sexual dynamic that she seems to exert on the rest of the inhabitants (one notes that recent films like Respiro and Malena propose similar interactions by idealizing the Mediterranean woman). As this shame is associated with the concept of sin, the punishment will thus be exerted by the religion. Arrabal then multiplies the symbols, seeming to settle accounts with a rigorous catholic education. Here he depicts Faith as a source of blindness, showing a blind man carrying a cross, and then as an ideological prison: the child possesses this strange toy, a small plane (an object resembling a cross which raises man to the sky) enclosed in a bird cage. Fado also seems to reproach his mother for having denounced his father, and even though Arrabal was too young to have known him, what's visible here is the unquestionable frustration born of paternal absence and the impossibility of the mother for assuming the two roles. The mother seems to forever reproach her husband, his ideals considered as the cause of the rupture of the family core. Through this religious woman who denounced her husband, one sees an allusion to a "collaborator" Church allied to power and thus to repression. The Church is also opposed to difference, whether it's ideological (communism) or sexual (homosexuality) and banishes it by associating it with hell. The culture is not spared by this ideological repression, since Fado's small theater represents a vehicle of contaminated ideas. While the story of Fado and his mother is shown and told in a formal manner, the allegories through which Arrabal (or Fado) expresses himself, are a rupture of style, as each sequence has been filmed in video then faded in garish colors. Violence, sexual cruelty, torture and other fine scatological moments rub shoulders here and while they can be shocking and sometimes grotesque, they never sink into total gratuity, as each one carries a message. While the process is original, it proves to be too simplistic and coarse at a time when directors like Raul Ruiz or David Lynch subtly melt the allegories into the account. It is however this naiveté, this raw and direct approach that is the force of this artist's first cinematic work. While his excesses are found in his following films, he eventually gives up the rupture of style in order to distill them in the narrative of his second full-length film, I Will Walk Like A Crazy Horse, an emblematic and controversial work. Already predicting artistic radicalization, Viva La Muerte poses the cinematic marks of a man at the cross of genius and madness Edited January 30, 2006 by jack rose Quote
Dani Posted February 2, 2006 Report Posted February 2, 2006 Pink Flamingos - najveca avangarda od sviju Aha... kakvo sranje od filma. Quote
MudriPanj Posted February 2, 2006 Report Posted February 2, 2006 (edited) e jeste gledali Corto Maltese crtani nije nimalo avangardno ali je mnogo jako a onaj Baise Moi - francuski psiho porno slaughter ni on nije nesto avangardan ali je nako cool edit: sad sam se sjetio - Spider od Cronenberga - to vam je gadan film Edited February 2, 2006 by MudriPanj Quote
Marko, Mon_a[MOR]e Posted February 4, 2006 Report Posted February 4, 2006 Jodorowsky cult!!!! El Topo Holy Mountain Santa Sangre (Slabiji udarac od prethodnih, ali poslednji film na kojem sam zaplakao) BTW, ovaj sat je odlican http://www.wayney.pwp.blueyonder.co.uk/surreal.htm Quote
gruban Posted February 6, 2006 Report Posted February 6, 2006 linAk je prestrasan... da nemas sto-god od tih filmova?!? Quote
Buddha Posted February 6, 2006 Author Report Posted February 6, 2006 sjeda glavo, sta ces ti ovde? mars na spavanje matori, idi slusat tamo tobya i flaute! Quote
Out Of Time Posted February 6, 2006 Report Posted February 6, 2006 nadjte Copyshop... ovaj lik iz og potpisa naj short movie koji sam ikada gledao... vrh Quote
gruban Posted February 6, 2006 Report Posted February 6, 2006 sjeda glavo, sta ces ti ovde? mars na spavanje matori, idi slusat tamo tobya i flaute! proklet da je Toby...i labudovi se znoje! Quote
Buddha Posted February 6, 2006 Author Report Posted February 6, 2006 Turn Sweat The Swans! (by my dying bride) Quote
heroinchic Posted February 6, 2006 Report Posted February 6, 2006 je l' te, a 'de s' broji Naked Lunch?! Mozda je i pomenut, ovo je prva strana koju citam... Quote
Out Of Time Posted February 6, 2006 Report Posted February 6, 2006 @heroichic te main stream stvari su opshta mesta... ko ih jebe... to sam gledao pre branka kockice... Quote
gruban Posted February 7, 2006 Report Posted February 7, 2006 @heroichic te main stream stvari su opshta mesta... ko ih jebe... to sam gledao pre branka kockice... przi ga.... upravo gledam u prekidima Russian Ark.... KVLT.... jedan kadar, vise nego dovoljan Quote
Out Of Time Posted February 7, 2006 Report Posted February 7, 2006 proshle god u marijenbadu sam gledao bar 5, 6 puta... (valjda je to taj film) takvu toplinu nijesam doziveo... kad sam usho na fax pushtili ga na istoriji filma a uzeli kopiju od kinoteke... jedan od uzasno retkih sinhronizovanih filmova... totalna atmosfera samo zbog toga... nostalgija i to... glasovi glumaca su bash onako... zao mi beshe shto nisam godishte mojih roditelja... ima gomile skrivenih momenata, senki, kadrova... samo, nije avangardno... nema meshanja zanrova... u najboljem sluchaju simbolizam, psihodelija, ekspresija > novi talas; drama, romansa (ljubic, shto reche jedna uplakana zena)... Quote
Kent Posted February 7, 2006 Report Posted February 7, 2006 kapiram da to sigurno znas daleko bolje od mene, ali zar "avangarda" u filmu ne bi trebalo da upravo ukazuje na eksperimentisanje cudnovatim formama koje prkose bilo kakvom "tradicionalnom" nacinu pripovedanja ili strukturi? meni je marijenbad prvi irealni film. preteca jebenog matriksa, trumanovog shoa, totalnog opoziva, grada tame, svih uspelih i neuspelih pokusaja stvaranja prividne stvarnosti i manipulacije sa istom. sa estetskog aspekta je divan. ni sam ne znam koliko sam ga puta gledao, ali uvek vidim drugacije skulpture, strafure i ornamente po zidovima, ukrase i biljke, iako znam da sve stoji skamenjeno sem njihovih odela i pokreta. nisam gledao sinhronizovanu verziju nikada, i bas mi je zao zbog toga, jer sam ono previranje drame sa pocetka tumacio po x puta i dovodio u vezu sa kasnijim dijalozima (prevod me je cesto frustrirao). kontanje krucijalnosti nelinearnosti mi bilo u rangu sa resavanjem najzajebanijih sistema parcijalnih diferencijalnih jednacina . naleteo sam ranije na neki esej koji je ukazivao na cudesnu povezanost filma sa prilicno opskurnom knjigom (barem kod, sudeci po vremenu koje mi je bilo potrebnu da istu pronadjem) argentinskog pisca kazaresa, knjigom koja mi je promenila percepciju filma za 100%, ukazala na poimanje holografske stvarnosti kao njegovog kljuca i, pored neosporne artisticke vrednosti, primarnog atributa. elem, u najboljem slucaju, film lazne stvarnosti, irealan, nadrealan, kakavgod. misterija, enigma, halucinacija, meditacija. da li je avangarda ili ne po definiciji teorije filma me i ne zanima toliko, ali po mom poimanju te reci je to manifest. Quote
Out Of Time Posted February 7, 2006 Report Posted February 7, 2006 u sushtini sve u vezi ovog filma zasnovano je na posebnom nachinu pripovedanja koji je zeleo da se jasno odvoji od Bazina i celog novog talasa koji je pristupao "problemu" sushtinski i josh dalje od toga opushtajuci filmsku konstrukciju potpuno i snimajuci celovechernje filmove bazirane na 6, 7 stranica scenarija... ima razlike od obichne priche isprichane na neobichan nachin i neobichne priche isprichane na obichan nachin... i to je to... avangardni filmovi su neshto drugo... ako cu da kenjam o rechi "avangardno" onda ima vrlo malo pravih avangardnih filmova koji polako izgubili smisao posle ekspanzije Vorhola i te generacije... u sushtini mogu da kenjam dalje, ali, kao shto sam jednom, posle kenjanja sa fierijem, shvtaio, mrzi me jer nema poente jer niko ovde ne mzoe da se slozi... svako ima drugojachiju predstavu o terminu "avangarda".. Quote
Out Of Time Posted February 7, 2006 Report Posted February 7, 2006 (edited) kapiram da to sigurno znas daleko bolje od mene, ali zar "avangarda" u filmu ne bi trebalo da upravo ukazuje na eksperimentisanje cudnovatim formama koje prkose bilo kakvom "tradicionalnom" nacinu pripovedanja ili strukturi? meni je marijenbad prvi irealni film. preteca jebenog matriksa, trumanovog shoa, ... i da bre, chudnovate forme i irealni filmovi... marijenbad je bazichno (samo bazichno kazem jer je ovaj film genijalan)prevazidjen, u neku ruku, pre nego shto je snimljen jer je takvog i slichnih nachina pripovedanja toga je tokom 20-ih bilo vishe nego shto je sad kineza... chak ima i nashih ljudi koji su "jeli govna" na ovu stranu... npr. Tokin i jebeno veliki Vorkapic o kome Ameri i dan danas pishu eseje... to mi dodje kao, npr. In The Woods snimi Epitaph i ja se userem, al to je ipak obrada... ja tako shvatam Marijenbad... odlichan, odlichan film... mislim da ga, na zahtev gledalaca, najcheshce pushtaju u kinoteci... samo tamo sam ga i gledao 2 puta... anyway, veliki deo profesora sa faxa ne voli ovaj film nikako... beshe i jedna svadja sa Stojanovicem josh na drugoj godini zbog njega... srecom, senilan je pa me je zaduzio da mu donesem projektor vec na sledecem chasu... chovek seche vene na Vertova i Kurosavu! edit: by the way, tip (valjda, josh uvek) drzi rekord u duzini trajanja jednog kadra na srpskom filmu > 14 minuta! Edited February 7, 2006 by Out Of Time Quote
Kent Posted February 7, 2006 Report Posted February 7, 2006 ima razlike od obichne priche isprichane na neobichan nachin i neobichne priche isprichane na obichan nachin... i to je to... a sta je neobicna prica ispricana na neobican nacin? marijenbad je bazichno (samo bazichno kazem jer je ovaj film genijalan)prevazidjen, u neku ruku, pre nego shto je snimljen jer je takvog i slichnih nachina pripovedanja toga je tokom 20-ih bilo vishe nego shto je sad kineza... opet, ponavljam, nije nacin pripovedanja to sto je krucijalno u njemu. siguran sam da nije. daj mi primer par avangardnih filmova, a da to ne budu tvoji profesori ili neki vijetnamci 20-tih godina... nesto poznato i opste prihvaceno stvarno me zanima. Quote
Out Of Time Posted February 7, 2006 Report Posted February 7, 2006 (edited) Peter Gidal > Oblaci (Clouds, 1969), Sobni film (Room Film, 1973), Stanje iluzije (Condition of Illusion, 1975), Poricanja (Denials, 1985) Jean-Isidore Isou > Trakat o slini i večnosti (Traité de bave et d’étérnité, 1951) Slavko Vorkapic > Život i smrt holivudskog statiste (The Life and Death of 9413, A Hollywood Extra, 1928) - jedan od prvih USA avangardnih filmova Stan Brakhage (uglavnom kratki metar) > Prelude: Dog Star Man (1962) (ima tri dela), Scenes From Under Childhood Section #1 (1967) (4 dela)....... verujem da si video neki film Jonas Mekasa (mislim da je jedan pushten i na festu pre par godina) > As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000), Lost, Lost, Lost (1976) ... opshtepoznata, chini mi se i ovde pominjana Maya Deren > Mreže popodneva (Meshes of the Afternoon, 1943) (sa muzem Aleksanderom Hammidom) , Studija koreografije za kameru (A Study in Choreography for Camera, 1945), Ritual u preobraženom vremenu (Ritual in Transfigured Time, 1946), Samo oko noći (The Very Eye of Night, 1959)... Germaine Dulac > Nasmejana gospođa Beudet (La Souriante Madame Beudet, 1923), Školjka i sveštenik (La Coquille et le Clergyman)... p.s. naveo sam filmove koje sam, skoro sve, i sam pogledao... kako god, teshko je ne pominjati filmove iz 20-ih i 30-ih jer je samo tada avangarda bila avanagarda... ima previshe ljudi koji filmove koje su gledali smatraju za avangarde, a vrlo malo je onih koji su zaista gledali filmove koji se prema teoriji filma vode kao avangardni... i s tim u vezi marijebad ne ulazi u tu grupu... marijenbad je romansa, ljubic pomeren iz zanra u autorski film, a odatle, putem pripovedanja razlozen na posebno stilizovane kadrove, scene... dakle, tu upada nachin pripovedanja... avangardni film, u sushtini nastaje sa potpuno druge strane... marijenbad razmatra dogadjaj, shta se to desilo proshle godine, dok avangardni film razmatra ideju... dalje, tu je taj momenat meshanja ili ne meshanja zanrova, meshanja ili ne meshanja razlichitih umetnosti itd... u svakom sluchaju koliko god da sam chitao o teoriji filma, a chitao sam i ovako ali i zbog gomile ispita, i dalje ne mogu potpuno da tvrdim da poznajem stvari vezane za "avangardni" film do tanchina... jebiga, bar 15 puta mi se desilo da prekinem Dakovicku tokom predavanja i postavim joj neko pitanje, a ona, iako je trenutno mozda i najizrazeniji i najnachitaniji, ajde da kazem, "najbolji" (mada to ja i ne mislim sasvim) filmski teoretichar (ne pominjem Petricica, Stojanovica, Pajkica itd. jer su ljudi vishe old skul i sa njima nema mnogo priche), i posle niza pokushaja ne moze sasvim da mi objasni to shto predaje... mozda sam glup ko qrac, al ipak se svi studenti slazu da izgleda da ni njoj neke stvari nisu najjasnije... Teoretichari > Filippo Tommaso Marinetti (zvanichno prvi koji se upustio u teoriju avangarde i izbacio manifest futuristichkog filma, jebeni nacista), László Moholy-Nagy, Rudolf Kurtz, Paul Adams Sitney, Malcolm Le Grice, Gene Yougnblood... Edited February 7, 2006 by Out Of Time Quote
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