Ludwig Josef Johann Wittgenstein – Michael Derek Elworthy Jarman

Jarman may take on the Wittgenstein script only to distance himself from his subject, but Wittgenstein also leads to a crisis in Jarman’s own aesthetic sensibility. Jarman likes to assemble cinematic elements through half-conscious and seemingly random association. For example, when the narrator tells us of Wittgenstein’s going to Manchester University to study aeronautics, theContinuar lendo “Ludwig Josef Johann Wittgenstein – Michael Derek Elworthy Jarman”

Wild Horses… again.

Lawrence writes only that Connie “had recurrent violent dreams, of horses, of a mare which had been feeding quietly, and suddenly went mad” and later that “there was a group of horses, and a mare that would go mad and lash at the others with her heels and tear them with her teeth!” Russell’s versionContinuar lendo “Wild Horses… again.”

24 Frames: A Nota Azul (La Note Bleue, Andrzej Zulawski, 1991)

Ninguém duvida que o homem seja modificado pelos seus sentidos, mas, por não podermos distinguir tais modificações, confundimos-lhes as causas. Reconhecemos um domínio excessivo, mas também insuficiente das sensações, não percebendo que freqüentemente não só nos afetam como sensações mas ainda como sinais e imagens, e que seus efeitos morais também possuem causas morais. TalContinuar lendo “24 Frames: A Nota Azul (La Note Bleue, Andrzej Zulawski, 1991)”

Ingram & Powell

I had been in on the creation of the Witch’s Sabbath in Rex Ingram’s The Magician, based on Somerset Maugham’s short novel, in which the portrait of the magician was based on Aleister Crowley. In the film Alice Terry has a vision in which she is raped by a faun, danced by Stowitts who wasContinuar lendo “Ingram & Powell”

Lean – Powell

Lean quickly mastered the craft of editing sound movies and continued to assist other directors in cutting talkies. He developed his own approach to assembling the footage for a sound picture, virtually ignoring the sound track, and cutting the film primarily by focusing on the images. Michael Powell, who would one day commission Lean toContinuar lendo “Lean – Powell”

24 Frames: Amargo Triunfo (Bitter Victory, Nicholas Ray, 1957)

I kill the living and save the dead. A wonderful and terribly underrated war movie; what is striking now (apart from how it anticipated, in various respects, both Lean’s Lawrence of Arabia and Minghella’s The English Patient) is the sheer, unflinching intensity of some of the scenes: Leith stabbing the Nazi guard, his mercy-killing ofContinuar lendo “24 Frames: Amargo Triunfo (Bitter Victory, Nicholas Ray, 1957)”

Memory for Forgetfulness – August, Beirut, 1982

I want the aroma of coffee. I want nothing more than the aroma of coffee. And I want nothing more from the passing days than the aroma of coffee. The aroma of coffee so I can hold myself together, stand on my feet, and be transformed from something that crawls, into a human being. TheContinuar lendo “Memory for Forgetfulness – August, Beirut, 1982”

Feliz Paixão – Versão Urbain Grandier

We, the influential Lucifer, the young Satan, Beelzebub, Leviathan, Elimi, and Astaroth, together with others, have today accepted the covenant pact of Urbain Grandier, who is ours. And him do we promise the love of women, the flower of virgins, the respect of monarchs, honors, lusts and powers. He will go whoring three days long,Continuar lendo “Feliz Paixão – Versão Urbain Grandier”

HOLY SHIT! In the name of all the elves in Christendom!

I am cold, bitch? I AM COLD!?! Então MOR-RA. Edward Fairfax Rochester: Há 160 anos deixando a mulherada suando frio. Numa livraria, perto de você! *Wink* *Wink* Related articles Ro-ches-ter. Edward Rochester and the Margins of Masculinity in Jane Eyre and Wide Sargasso Sea Silencing the Male: Rochester’s Muteness “Myself yet not quite myself”: JaneContinuar lendo “HOLY SHIT! In the name of all the elves in Christendom!”

24 Frames: Sangue Ardente (Hot Blood, Nicholas Ray, 1956)

If the cinema no longer existed, Nicholas Ray alone gives the impression of being capable of reinventing it, and what is more, of wanting to. While it is easy to imagine John Ford as an admiral, Robert Aldrich on Wall Street, Anthony Mann on the trail of Belliou la Fumee or Raoul Walsh as aContinuar lendo “24 Frames: Sangue Ardente (Hot Blood, Nicholas Ray, 1956)”

O Prisioneiro do Lermontov versus O Passarinho de Pushkin

Open wide my dungeon dwell, Bring the daylight to my cell, Black-eyed maiden of my fancy, Black-maned steed to jump the fence! First, I’ll kiss my beauty sweet, Then I’ll mount my jolly steed, Off to steppe, I’ll fly as wind. But the window’s far too high, Heavy lock I can’t untie, Black-eyed maiden isContinuar lendo “O Prisioneiro do Lermontov versus O Passarinho de Pushkin”

24 Frames: A Bela do Bas-Fond (Party Girl, Nicholas Ray, 1958)

The city in question is Chicago in the 1930s, although its appearance is glossy rather than gritty, its settings largely interiors rather than urban streets. The main structural pairings and oppositions are between one particular location within the city and another (for example, night-club versus courtroom, train compartment versus jail, and so on), rather thanContinuar lendo “24 Frames: A Bela do Bas-Fond (Party Girl, Nicholas Ray, 1958)”

Tudo que é bom vem aos pares: Livesey & Walbrook

This brings us to Clive’s duel with Theo in Berlin, 1902, where an unreal attention to the artifices of honourable action is a sublimation of the real, the visceral, and potentially the homoerotic. The excessive observance of detail before and during the duel marks both the period and the officer class as one fatally disassociatedContinuar lendo “Tudo que é bom vem aos pares: Livesey & Walbrook”

Ítalo Rossi (1931 – 2011)

Fui estudar inglês num curso intensivo que havia no SESC de São Paulo, num prédio enorme do centro da cidade. (…) Havia ali um curso de teatro. Um dia, em vez de ir à aula de inglês entrei na sala do lado onde na porta estava escrito: TEATRO. Estavam fazendo testes para uma peça deContinuar lendo “Ítalo Rossi (1931 – 2011)”

O Sussurro do Demônio

*Homenagem ao Cassel-Gross que desprezei no outro post sobre o filme.* Eu lhe contei [a Jung] como tinham sido meus exames, mas fiquei muito desapontada por ele não ter demonstrado alegria em saber que, afinal de contas, eu tinha capacidade de fazer um bom trabalho e que agora era candidata oficial a um diploma médico.Continuar lendo “O Sussurro do Demônio”

Top Ten Authors I Would DIE to meet .

*Momento Proust – Segunda Fase*:  Nenhum. Eu só quero ficar na minha cama, bebendo chá e ouvindo um quarteto de cordas. Agora, sério: 1- Marcel Proust, pra ficar na cama com ele, bebendo chá e ouvindo um quarteto de cordas enquanto definhamos lentamente 2- Lord Byron, pra ficar na cama com ele, bebendo vinho eContinuar lendo “Top Ten Authors I Would DIE to meet .”

24 Frames: What’s Opera Doc? (Chuck Jones, 1957)

Elmer, the Wabitt-Hunter. As the critic Daniel Goldmark observes, ‘Simply placing opera into an animated medium is intrinsically humorous, because it violates cultural tradition – we laugh at the juxtaposition of high and low.’ Yet, What’s Opera, Doc? also has a political subtext, one that Walt Disney Productions had seen fit to avoid in 1941,Continuar lendo “24 Frames: What’s Opera Doc? (Chuck Jones, 1957)”

Projection & Introjection

Film and the dreamlike experience that occurs when the barriers between consciousness and the unconscious are lowered would, however, be less potently linked were it not for the phenomenon of introjection. It may be described as the opposite to projection, since it involves internalising experience of the world. Introjection also plays a large part inContinuar lendo “Projection & Introjection”