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Críticas

ENTREVISTA: ERIC Y MARC HURTADO

Por José Sarmiento y Mónica Delgado

En esta edición de Desistfilm abordamos los trabajos de Eric y Marc Hurtado, dúo icónico dentro de la música y cine experimental francés desde los años ochenta, cuyo imaginario fluye dentro de las posibilidades de la imagen y la música en una simbiosis poderosa y sublime. Conversamos con ellos sobre una película indispensable para la presente década, Jajouka, something good comes to you, y sobre otros motivos que priman su universo de sonidos y ritos.

2014.03.14

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ROCKING THE HORSE: A FEW NOTES ON THE EARLY WORK OF RENÉ CLAIR

By Claudia Siefen

René Clair and his films; that means funny animals in charge of vehicles or clothing, crowds as group characters in funeral processions, our beloved street singers and workers at a factory. Singing street crowds in general, but also people escaping sleep, getting away again from work and, very handy, some beautiful folded paper.

2014.03.14

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THE REDISCOVERY OF MEMORY AND EXPLORATION OF SPACE IN KEN JACOBS EXPERIMENTAL 3D FILMS

By José Sarmiento

When Ken Jacobs started with his anagylphs and three dimensional experiments (a third dimension effect that wasn’t at all similar to the technological 3D of multiplex cinemas) as early as 1997, something truly unique was being born.

2014.03.14

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MURDER PSALM BY STAN BRAKHAGE

By Lauren Bliss

Murder Psalm is the closest film has come to figuring psychosis. That is not to say that there is anything wrong or sick with Murder Psalm. As Michel Foucault pointed out in Madness and Civilisation, it was the psychiatrists and not the psychotics who fostered the rationalisation and objectification of psychosis as a diagnosis for purposes of power and control. Thus, and in extension of this, I would suggest that the psychosis of Murder Psalm is neither irrational nor unreasonable.

2014.03.14

Artículos

THE BEGINNING DE ARTAVAZD PELESHYAN

Por Nicolás Carrasco

¿Cómo se cuenta la historia de una nación como lo fue la Unión Soviética? Con The Beginning (1967), Artavazd Peleshyan se toma el riego de contar en diez minutos los cincuenta años transcurridos desde la Revolución de Octubre, empleando una combinación de fotografías y material de archivo, manipulando sus velocidades, repitiéndolas, y sincronizándolas con música (a la manera de los pioneros soviéticos).

2014.03.14

Artículos

ESPAÑA ENCONTRADA: FOTOGRAFÍAS FAMILIARES EN EL FUTURO Y ARRAIANOS

Por Ricardo Adalia Martin

¿Por qué en dos películas españolas aparentemente tan diferentes como El futuro (Luís López Carrasco, 2013) y Arraianos (Eloy Enciso, 2012), aparecen una serie de fotografías familiares hacia la mitad de su metraje? ¿Por qué después de que estas imágenes (que no son otra cosa que material encontrado) irrumpan en la ficción, se produce un cambio de tono en ambas?

2014.03.14

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FILM DIVIDED APART BY NORIO IMAI

By Julian Ross

For Bundan sareta firumu (Film Divided Apart, 1972), Imai’s take on found footage was distinctly material with an emphasis placed on film as object. He further spliced a selection of the films into individual frames that were projected in rotation as slides. Not only the photographed image but also the film material itself became part of the projected image in the slideshow display.

2014.03.14

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WORKERS LEAVING THE FACTORY BY HARUN FAROCKI

By Lauren Bliss

Farocki’s technical genius is in his ability to combine the specificity of the cinematic apparatus, the mechanically produced representation of the body, with the modern regimentation of the body to effect an imaging of the process of subjectification. As an invocation to the production line of the factory, with its repetition, regulation, and homogenization, the use of different films showing the same thing figures how the body is shaped, condensed, and squeezed to fit to the mechanical mould.

2014.03.13

Artículos

UN ANACRONISMO DEFENSIVO: LA FÓRMULA SECRETA DE RUBÉN GÁMEZ

Por Pablo Gamba

La colaboración de Juan Rulfo, con un poema que aceptó escribir para el filme, con la condición de que lo leyera el poeta Jaime Sabines, es la primera razón por la que en el cine mexicano sobresale un mediometraje como La fórmula secreta de Rubén Gámez (1965). Gámez fue un fotógrafo de publicidad que se había destacado antes con el corto Magueyes (1962), y que no estrenó su primer y único largometraje sino en 1992: Tequila. Murió en 2002.

2014.03.13

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OUT OF YOUR RUINS YOU HAVE MADE CREATIONS: THE FILMS OF JOSEPH CORNELL

By Sarah Nichols

In his poem for Joseph Cornell, “Objects and Apparitions,” Octavio Paz writes “Minimal, incoherent fragments:/the opposite of History, creator of ruins,/out of your ruins you have made creations” (1). For me, Cornell is a visual poet; an obsessive hunter-gatherer of images. His shadow boxes, filled as they are with “marbles, metal rings, and other frugally poetic objects” (2), create their own lives, as the best poems do.

2014.03.12