Cinema. Film Study. What a pity that the left hand rarely knows what the right hand is doing, and vice versa.
Thanks to the generosity of Girish Shambu, I’m the happy owner of a copy of Timothy Barnard’s retranslated, reselected, and annotated edition of André Bazin’s What is Cinema?, recently published in a handsome hardcover by www.caboosebooks.com, based in Montreal, with Varvara Stepanova’s 1922 woodcut of Charlie Chaplin, Sharlo Takes a Bow, gracing the cover.
First, here is the selection: “Ontology of the Photographic Image,” “The Myth of Total Cinema,” “On Jean Painlevé” (a short fragment that Barnard has translated for the first time), “An Introduction to the Charlie Chaplin Persona,” “Monsieur Hulot and Time,” “William Wyler, the Jansenist of Mise en Scène,” “Editing Prohibited,” “The Evolution of Film Language,” “For an Impure Cinema: In Defense of Adaptation,” “Diary of a Country Priest and the Robert Bresson Style,” “Theatre and Film (1),” “Theatre and Film (2),” and “Cinematic Realism and the Italian School of the Liberation”.
Regrettably, the 354-page book, with a ten-page Publisher’s Foreword, the aforementioned 13 essays by Bazin, 61 pages of helpful annotation, a combined 19-page Glossary of Films and Film Title Index, and a six-page Index of Names, is unavailable to most people outside of Canada, and for legal reasons, including copyright laws, you can’t even order this from Canadian Amazon. Read more
From the Chicago Reader (October 26, 2001). — J.R.
Directed and written by Richard Linklater.
The cinema is an antiuniverse where reality is born out of a sum of unrealities. –Jean Epstein
I must have come across this statement by Epstein, a French theorist and filmmaker (1897-1953), in the late 60s or early 70s, but I no longer remember where. I’ve scanned his writings on several occasions since, but I haven’t found the quote. Sometimes I wonder if I read or heard about it in a dream — making it one of the unrealities Epstein is referring to.
Wherever the quote comes from, it applies beautifully to the animated feature by Richard Linklater that premiered at Sundance early this year and is currently playing at the Music Box. The movie is a string of paradoxes and reflections about what’s real and what’s not, about when you’re dreaming and when you’re awake, and the unusual way it’s put together seems calculated to complicate all of the issues it raises rather than resolve any of them. Over 25 days Linklater, one of his coproducers, and a sound person shot a first version of everything we see in this movie with two relatively low-tech digital video cameras in and around Austin and in San Antonio and New York — basically taping a lot of people talking and walking, as well as listening and sitting. Read more
From the Chicago Reader (June 2, 2000).
On October 5, 2014, I had the pleasure of introducing The Sandwich Man at the Museum of the Moving Image’s exhaustive Hou retrospective in Astoria. My late friend Gilberto Perez came to the screening and we had dinner afterwards; it was the last time I ever saw him. — J.R.
Films by Hou Hsiao-hsien
By Jonathan Rosenbaum
We are what we pretend to be, so we must be careful about what we pretend to be. — Kurt Vonnegut Jr., Mother Night
How significant is it that neither of the two greatest working narrative filmmakers is fluent in English? Not very. But it might be logical. After all, most of the people in the world, including those in Iran and Taiwan, don’t speak English, even though that places them, in American eyes, in the margins, outside even the on-line global culture.
If being in the margins means being in the majority, it stands to reason that Abbas Kiarostami and Hou Hsiao-hsien, as chroniclers of what’s happening on the planet at the moment, should both be poet laureates of the sticks — though they don’t have much in common beyond a taste for filming in long shot, pioneering direct sound recording in their national cinemas (in both cases to honor the speech patterns of nonprofessional actors), and a general sense of philosophical detachment. Read more