settima

@settima@zirk.us

The Governor (Stan Brakhage, 1977)

Jul

4

1976

And July 20

“On July 4, 1976 I and my camera toured the state of Colorado with governor Richard D. Lamm, as he traveled in parades with his children, appeared at dinners, lectured, etc. On July 20, I spent the morning in his office in the state capitol and the afternoon with himself and his wife in a television studio, then with Mrs. Lamm greeting guests to the governor’s mansion and finally with Governor Lamm in his office again. These two days of photography took me exactly one year to edit into a film which wove itself thru multiple superimpositions into a study of light and power.”

– Stan Brakhage

The Naked Kiss (Samuel Fuller, 1964)

Jul

4

1961

The Naked Kiss (1964)

A desk calendar reading July 4, 1961, with dirty, crumpled dollar bills thrown on top of it. DP: Stanley Cortez.

“Nobody shoves dirty money in my mouth.”

– Candy

Divorzio all'italiana [Divorce Italian Style] (Pietro Germi, 1961)

Jul

3

Divorzio all'italiana (1961)

A closeup of a man's hand holding up a diary. It's the third of July. DPs: Leonida Barboni & Carlo Di Palma.

Additionally, IMDb writes that “director Pietro Germi filmed a close-up of the front page of a newspaper announcing Yuri Gagarin's flight around the earth on April 12th 1961.”

Lonesome (Pál Fejős, 1928)

Jul

3

Sat

Lonesome (1928)

An alarm clock informs us it's 7:15 while the calendar adds that it's the 3rd on a Saturday. Next to the alarm a crumpled up ladies' magazine. DP: Gilbert Warrenton.

“You've won a doll and a kiss. I'll give you the doll and your girl can give you the kiss!”

– Coney Island barker

Пасифик 231 [Pasifik 231 / Pacific 231] (Mikhail Tsekhanovskiy, 1931)

Jul

2

Pasifik 231 (1931)

Musicians superimposed over the locomotive's pistons. DP: Leonid Patlis.

A mode of transportation to get me to my ideal vacation destination*. And yes, I would travel to an island by transcontinental locomotive

“What I sought in 'Pacific' was not the imitation of the sounds of the locomotive, but the translation of a visual impression and a physical enjoyment through a musical construction. It starts from objective contemplation: the quiet breathing of the engine at rest, the effort of starting, then the progressive increase in speed, to arrive at the lyrical state, the pathos of the 300-ton train, launched in the middle of the night at 120 km/h.”

– Arthur Honegger, Dissonances. Revue musicale indépendante (1925) (via)

Hinted on in Abel Gance's La Roue (1923), composer Arthur Honegger's Пасифик 231 follows the narrative of a stream train ploughing through the night. The conductor's gestures mirror the fireman's and slowly, the machine comes to live. The music becomes abstract, machine-like, in its rendition of pistons and valves. Using double exposure and Soviet montage theory, music and movement become one. The Futurists, if not opposed to the Soviets that is, would have had a field day with this outing.

 

Il mare [The Sea] (Giuseppe Patroni Griffi, 1962)

Jul

1

Il mare (1962)

The actor (Umberto Orsini) looking out over the island. The claustrophobic framing of the hotel windows contrasts sharply with the openness of the sea. DP: Ennio Guarnieri.

My ideal vacation spot, country, city, town, or resort*

 

An island, in this case Capri (granted I've never been there), off-season, in a space and time lost in the mists. It'll occasionally rain and it's cold enough to dress up.

 

Burnt Offerings (Dan Curtis, 1976)

Jul

1

Burnt Offerings (1976)

The chauffeur (Anthony James). DP: Jacques R. Marquette.

“The house takes care of itself.”

– Roz Allardyce

Farewell, Etaoin Shrdlu (David Loeb Weiss, 1980)

Jul

1

1978

Farewell, Etaoin Shrdlu (1980)

All set for the July 2, 1978 edition of The New York Times, hot off the press.

Production of the last hot type copy of The New York Times on the nigh of July 1, 1978. The ETAOIN SHRDLU in the title refers to the accidental string of letters that sometimes would end up in print when using the hot type method.

 

That Linotype setting, and narration, was provided by Carl Schlesinger. That same old, but now digitally set New York Times, provided a lovely farewell when the man passed. Read it here

Combat de boxe (Charles Dekeukeleire, 1927)

Jun

30

Mike Tyson – 1966

Combat de boxe (1927)

One of the fighters receives a direct hit. The camera is so close that we see abstract shapes, texture and contrast before recognising the scene. DP: Antoine Castille.

A [favourite] athlete in a film role for Mike Tyson's birthday

“But this art of total synthesis that is Cinema, this fabulous newborn of Machine and Sentiment, is beginning to cease its moans and is entering its infancy. Its adolescence will soon arrive, seize its intelligence, and multiply its dreams; we ask that we hasten its development, precipitate the advent of its youth. We need Cinema to create the total art toward which the other arts have always tended.

– Ricciotto Canudo, Gazette des sept arts, 1923 (via)

The match you see is real, between two actual fighters. Paul Werrie's rhythmic poem served as the basis. Everything else is illusion made flesh with what was available. An empty painter's studio, a few friends, footage of a crowd, a deep comprehension of the Kuleshov effect and rapid Soviet-style editing. Dekeukeleire places us from the safe world of the spectator right in the line of fire. But there's no release like in James Williamson's The Big Swallow (1901). Without that gimmick, cinema enters Canudo's realm, as the seventh art.

蠱​ [Gu / Bewitched] (Chih-Hung Kuei, 1981)

Jun

30

蠱 (1981)

Exorcising demons. DP: Hsin-Yeh Li.