|Image from Histoire(s) du cinéma (Jean-Luc Godard, 1988-99)|
It really should have waited….
The (just published) reboot issue — Godard Is. — is astonishingly, mouth-wateringly good! The luscious links are below.
- Jean-Luc Godard: Vivre sa Vie By Frieda Grafe
- The Interventions of Jean-Luc Godard and Chris Marker into Contemporary Visual Art By David Brancaleone
- “Elpenor, Unburied”: Ezra Pound, Jean-Luc Godard And the Descent of Dwelling By Corin Depper
- King Lear By James Norton
- “I am playing leapfrog with myself” By Jürgen E. Müller
- Scénario du Film Passion: Writing Video at the End of Cinema By Duncan White
- Entering the Desert: The Book of Film Socialisme by By James S. Williams
- Godard in the Gallery: Story of a Ruination By Adrian Martin
- “Tensional Differences”: The Anxiety of Re-Mediation in Jean-Luc Godard’s New Wave Films By Ágnes Pethő
- For a Reconsideration of Soft and Hard By Jerry White
- It’s Not Blood, It’s Red: Colour(s) of Jean-Luc Godard By Robert Barry
- A Photograph and a Camera: Two Objects in Film Socialisme By Roland-François Lack
From the Archive
|Image from The Company (Robert Altman, 2003)|
Today, Film Studies For Free is thrilled to point you in the tremendous direction of the latest contents of Scope: An Online Journal of Film and Television Studies. There’s lots to recommend in this issue but FSFF particularly enjoyed Katharina Lindner’s article on the female dancer on film, along with numerous, wonderful book reviews and conference reports, all part of the fabulous and openly accessible service that Scope provides to the international film studies community.
- Pasts and Futures of 1970s Film Theory Matthew Croombs
- Cultivating the Cult Experience at the Alamo Drafthouse Cinema Donna de Ville
- Spectacular (Dis-) Embodiments: The Female Dancer on Film Katharina Lindner
- Chris Marker and the Audiovisual Archive Oliver Mayer
- Hollywood Independents: The Postwar Talent Takeover by Denise Mann
100 American Independent Films, 2nd edition; The Contemporary Hollywood Reader Reviewer: Gareth James
- Documentary Display: Re-Viewing Nonfiction Film and Video by Keith Beatti Reviewer: Jeffrey Gutierrez
- Film Festival Yearbook 1: The Festival Circuit by Dina Iordanova with Ragan Rhyne (eds); Dekalog 3: On Film Festivals Reviewer: Linda Hutcheson
- Mabel Cheung Yuen-Ting’s An Autumn’s Tale by Stacilee Ford; John Woo’s The Killer Reviewer: Lin Feng
- Responses to Oliver Stone’s Alexander: Film, History, and Cultural Studies by Paul Cartledge and Fiona Rose Greenland (eds); Screening Nostalgia: Populuxe Props and Technicolor Aesthetics in Contemporary American Film Reviewer: Andrew B.R. Elliott
- Research Guide to Japanese Film Studies by Abe Mark Nornes and Aaron Gerow; The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs Reviewer: Jonathan Wroot
- Chapaev by Julian Graffy; Leni Riefenstahl: A Life Reviewer: Andrei Rogatchevski
- Harmony and Dissent: Film and Avant-garde Art Movements in the Early Twentieth Century by R. Bruce Elder; Moving Viewers: American Film and the Spectator’s Experience Reviewer: Caroline Hagood
- Reworking the German Past: Adaptations in Film, the Arts, and Popular Culture by Susan G. Figge and Jenifer K. Ward (eds); The Collapse of the Conventional: German Film and Its Politics at the Turn of the Twenty-First Century Reviewer: Matthias Uecker
- Stellar Encounters: Stardom in Popular European Cinema by Tytti Soila (ed); Claude Rains: An Actor’s Voice Reviewer: Rachael Johnson
- Alternative Film Culture in Inter-War Britain by Jamie Sexton; The Lost World of Cliff Twemlow: The King of Manchester Exploitation Movies; The British ‘B’ Film Reviewer: Laurence Raw
- Elia Kazan: The Cinema of an American Outsider by Brian Neve; Cinephilia in the Age of Digital Reproduction: Film, Pleasure and Digital Culture, Volume 1 Reviewer: Mildred Lewis
- First Person Jewish by Alisa S. Lebow; Neo-Noir Reviewer: Marat Grinberg
- Shadows of Progress: Documentary Film in Post-war Britain (1951-1977) Reviewer: Dai Vaughan
- Bonnie and Clyde Reviewer: Ian Murphy
- Cracks & Tell-Tale; Robin Hood; The A-Team Reviewer: Laurence Raw
- The Karate Kid & The Karate Kid Reviewer: Rachel Mizsei Ward
- Flow Conference 2010, University of Texas, Austin, 30 September–2 October 2010 Reporter: Kelly K. Ryan and Heather Muse
- Women’s Filmmaking in France 2000-2010, Institut Français, London, 2–4 December 2010 Reporter: Sarah Forgacs
- MeCCSA Conference: Media, Communication and Cultural Studies Association, University of Salford, 12–14 January 2011 Reporter: Greg Bevan
- ¡Documentary Now!, University of Westminster, London, 28–30 January 2011 Reporter: Philippa Daniel
- Rendering the Visible Conference, Georgia State University, 10–14 February 2011 Reporter: Drew Ayers and Steven Pustay
- Erotic Screen and Sound: Culture, Media and Desire Conference, Griffith University, Brisbane, 15–18 February 2011 Reporter: Michelle A. Mayefske
- SCMS 2011: Media Citizenship, Society for Cinema and Media Studies, Ritz-Carlton Hotel, New Orleans, 10–13 March 2011 Reporter: Shana MacDonald
The repetition of situations, events, memories, and words abounds in Duras’s texts. This repetition seems to emphasize the changing, unstable aspect of memory and language and move the reader to question his or her own memory and examine the dynamics of forgetting. . . . memory is seen as volatile and impossible. […] It is a remembering that destroys memory and leads to a new memory, which can replace the last only fleetingly and without substance […]. [Carol Hoffman, Forgetting and Marguerite Duras (University of Colorado Press, 1991): 35-6]
Impossible de parler de HIROSHIMA. Tout ce qu’on peut faire c’est de parler de l’impossibilité de parler de HIROSHIMA. / It is impossible to speak about Hiroshima. All one can do is to speak of the impossibility of speaking of Hiroshima [Marguerite Duras, Script of Hiroshima mon amour (Alain Resnais, 1960)]
Marguerite Duras s’avère savoir sans moi ce que j’enseigne / Marguerite Duras turns out to know what I teach without me [Jacques Lacan, “Hommage fait à Marguerite Duras du ravissement de Lol v. Stein,” Ornicar? 34, Paris: Navarin, 1985]
The cinema of Marguerite Duras is characterized by the notion that a film is nothing but a highly complex mental construct, a universe where memories and senses are reorganized under subjective orders. In contrast to other filmmakers who probably share the same notion (Alain Resnais, for instance), Duras relies heavily on the power of sound and particularly the suggestive power of the human voice to provoke and promote an active participation of the spectator’s imaginative process.
[Dong Liang, ‘Marguerite Duras’s Aural World: A study of the mise-en-son of India Song‘, Music, Sound, and the Moving Image, Volume 1, Issue 2, Autumn 2007, pp. 123-139]
Duras’s spectators must play an essentially active and creative role and question the concepts of listening and looking, as well as the relationship between the two. [Wendy Everett, ‘An Art of Fugue? The Polyphonic Cinema of Marguerite Duras’, in Williams, J. (ed.), Revisioning Duras: Film, Race, Sex (Liverpool: Liverpool University Press, 2000), pp. 21-36, 33]
[W]e are perpetually forced to recognize that changing rhythms and contextual juxtapositions [in Duras’s cinema] do not fulfill a narrative function, at least not in the accepted notion, but exist to create internal patterns or variations that themselves express the film’s themes, and gradually develop its potential meanings
[Wendy Everett, ‘Director as Composer: Marguerite Duras and the Music Analogy’, Literature Film Quarterly, Vol. 26, no. 2, 1998, 124–129: 127]
Film Studies For Free has been pondering the films of Marguerite Duras a lot recently. This happens fairly often, its true (FSFF‘s author first alighted on and fell in love with Planète Duras during a year abroad in France at the tender age of 20).
But, this week its ponderings have particularly been provoked by catching up with an experimental feature-length film — cinematically complex and ambitious on a Durasian scale, and with some notably similar fugue techniques and themes — made by a former colleague and friend, which is about to begin a two week run at London’s ICA (there’s a Q and A with the director and others on September 1). Do catch it if you can.
Perestroika — written, directed, edited and produced by film artist (and academic) Sarah Turner — has already been shown at a number of key film festivals, and will also very shortly be making a critical splash as the chosen “Film of the Month” in Sight and Sound‘s October issue, with a long review by Chris Darke. In the meantime you can read a lot more about it here and at FSFF‘s little sister site Filmanalytical, too, where you can watch a short excerpt.
Today’s links list may be relatively small, but it is perfectly formed with some extremely high quality and, delightfully, freely accessible studies of Duras’s film aesthetics.
- Colin Davis and Elizabeth Fallaize, ‘The Story of Her Life: Marguerite Duras’s L’Amant (1984)’, French Fiction in the Mitterrand Years: Memory, Narrative, Desire (Oxford: Oxford University Press, 2000)
- Rosamund Davies, ‘Screenwriting strategies in Marguerite Duras’s script for Hiroshima, Mon Amour (1960)’, Journal of Screenwriting, Volume 1, Number 1, 2010
- Sarah French, ‘From History to Memory: Alain Resnais’ and Marguerite Duras’ Hiroshima mon amour‘, Melbourne Art Journal, Issue 3, 2008
- Barbara Halpern Martineau, ‘Woman of the Ganges / La Femme du Gange or as the French say, Who‘s Marguerite Duras?’, from Jump Cut, no. 5, 1975, pp. 13-15
- Sirkka Knuuttila, ‘Fictionalising Trauma: The Aesthetics of Marguerite Duras’s India Cycle’, PhD Thesis, University of Helsinki, 2009
- David Melville, ‘The Ghosts of Parties Past: Exorcising India Song‘, Senses of Cinema, Issue 51, 2009
- Karen Piper, ‘The Signifying Corpse: Re-Reading Kristeva on Marguerite Duras’, Cultural Critique, No. 31, The Politics of Systems and Environments, Part II. (Autumn, 1995), pp. 159-177
- Judith Marie Plessis, Femininity and Authorship: Deren, Duras and Von Trotta, PhD Thesis, University of British Columbia, 1995
- Raylene Ramsay, ‘Autobiographical Fictions: Duras, Sarraute, Simon, Robbe-Grillet: Re-writing History, Story, Self, The International Fiction Review 18.1 (1991)
- Tytti Rantanen, ‘Gazing me, gazing you: Narrativity, visuality and the questions of power and desire in Marguerite Duras’ Le Ravissement de Lol V. Stein and India Song‘, Hortus Semioticus, No. 3, 2008
- Jonathan Rosenbaum, ‘Sound and Vision (Films by Marguerite Duras)’, from Chicago Reader, September 15, 1995
Film Studies For Free can barely contain its excitement as it rushes you news of the latest IMAGE [&] NARRATIVE (Vol. 11, No. 4, 2010) – a special issue devoted to philosophically informed discussion of the work of Chris Marker.
The names of the esteemed contributors to the issue (Christa Blümlinger, Sarah Cooper, Matthias De Groof, Sylvain Dreyer, Sarah French, Adrian Martin, Susana S. Martins, and editor Peter Kravanja) provide a very clear guarantee to the reader of the extremely high quality of the work on offer here. So, there’s nothing more to say, other than: enjoy! Direct links to their essays are given below, but be sure to visit the IMAGE [&] NARRATIVE website for some remaining (non-Marker-related) articles in this wonderful issue.
- ‘“If they don’t see happiness in the picture at least they’ll see the black”: Chris Marker’s Sans Soleil and the Lyotardian Sublime’, Sarah French Abstract PDF