settima

shortfilm

Le Horla [The Horla] (Jean-Daniel Pollet, 1966)

Aug

19

violet

Le Horla (1966)

The narrator enters a violet-blue room via a lavender-purple corridor (via). DP: Jean-Jacques Rochut.

Violet: a building or structure *

“Is it the form of the clouds, or the tints of the sky, or the colours of the surrounding objects which are so changeable, which have troubled my thoughts as they passed before my eyes? Who can tell?”

– Guy de Maupassant, Le Horla, 1887 (via)

Objects and rooms have distinct colours ranging from the deepest blues and violets to a pale lavender, a muted silver and shocks of yellow. The usage of colour in Le Horla is striking throughout and reminds me of how Van Gogh's paintings became increasingly colourful as his madness enveloped him.

 

آداب بهاری [Adab-e Bahari / Rites of Spring] (Ali Asghar Agahbanaei, 1982)

Aug

11

spring

Adab-e Bahari (1982)

In a dewdrop hanging from a rose, the face of a smiling woman appears.

Dita e Verës, a pagan spring celebration from Albania, celebrated in March: a spring scene*

 

The restless anticipation of spring. Iran as it was before and after the 1979 toppling of the Shah. While the snow melts away, the Revolution takes place, and fresh buds appear on the rose bushes. A poem.

 

E-clip-se (Chris Marker, 1999)

Aug

11

1999

E-clip-se (1999)

A young woman or child at the Jardin des plantes de Paris wears protective glasses while looking up in amazement during the August 11, 1999 solar eclipse, her baguette a vague memory. DP: Chris Marker.

Du côté de la côte [Along the Coast] (Agnès Varda, 1958)

Aug

9

yellow

Du côté de la côte (1958)

Two people, one big one small, in identical canary yellow robes and straw sun hats on the beach (more here). DPs: Quinto Albicocco & Raymond Castel.

Yellow: in food or fashion*

“Tourists prefer the trendy colors, yellow and blue. Pacing fancies, hotels are painted yellow and blue. Blue wins. All women want to be fashionable. All women wear blue, except the English, those learning to swim, and the Germans, who are dedicated to green.”

– narrator

Эффект Кулешова [Kuleshov Effect] (Lev Kuleshov, 1918)

Aug

5

Kuleshov Effect (1918)

A closeup of a man, followed by a medium shot of a child in a coffin, then back to the man. Can you see how his expression changes? (via). DP: to be determined.

Celebrating Dia de Los Muertos [on November 1 and 2, of course]: a cemetery, coffin, or dead person*

“When we began to compare the typically American, typically European, and typically Russian films, we noticed that they were distinctly different from one another in their construction. We noticed that in a particular sequence of a Russian film there were, say, ten to fifteen splices, ten to fifteen different set-ups. In the European film there might be twenty to thirty such set-ups (one must not forget that this description pertains to the year 1916), while in the American film there would be from eighty, sometimes upward to a hundred, separate shots. The American films took first place in eliciting reactions from the audience; European films took second; and the Russian films, third. We became particularly intrigued by this, but in the beginning we did not understand it.”

– Lev Kuleshov, The Principles of Montage, from The Practice of Film Direction (pp. 183-195) (source)

Director Lev Kuleshov explains what happens when a scene is followed by a reaction shot. Depending on the preceding image, the viewer projects an emotion onto the performer's facial expression. In his most famous montage, made up of existing footage – because property is theft, we see matinee idol Ivan Mosjoukine “react” to a bowl of soup, a little girl in a coffin, and a woman sprawled out on a divan.

 

Paparazzi (Jacques Rozier, 1963/1964)

Jul

29

Paparazzi (1964)

Brigitte Bardot and her co-star Michel Piccoli making a show of ascending the stairs of Casa Malaparte as seen through a paparazzo's lens. DP: Maurice Perrimond.

A character has a camera or takes photos*

 

It buzzes on the set of Le mépris. These mosquitos, the Italians say paparazzi, swarm La Bardot and making it merely impossible for anyone – themselves included – to do their job. But Bardot knows them, too well, and gives them what they want, when she wants it.

 

La Soufrière – Warten auf eine unausweichliche Katastrophe [La Soufrière: Waiting for an Inevitable Catastrophe] (Werner Herzog, 1977)

Jul

13

La Soufrière - Warten auf eine unausweichliche Katastrophe (1977)

Herzog and crew make their way up the volcano (via). DPs: Edward Lachman & Jörg Schmidt-Reitwein.

Someone at a theme park or national park*

“Telephones were still working, we are told, and the air-conditioning and refrigerators in many houses were still on.”

– narrator

The highest peak in the Parc national de la Guadeloupe is called La Grande Soufrière. The volcano had erupted before and was bound to do soon again. Hastily, the 76,000 islanders were evacuated with one farmer staying put. For Herzog reason to halt the editing of Herz aus Glas and make his way to the island.

 

Zig-Zag – le jeu de l'oie (Une fiction didactique à propos de la cartographie) [Snakes and Ladders] (Raúl Ruiz, 1980)

Jul

5

Zig-Zag (1980)

An anthropomorphic map with contour lines sketching out a man's head (via). DP: Alain Montrobert.

Traveling to my vacation destination, a map or globe*

“It appears obvious that the territory is the sum of all the maps, the result of an infinite addition. Or a contrary, the territory is what is left when we remove all the sets of lines, drawings, traces and colors which are covering it. Its existence becomes doubtful.”

– H., via

A man, H., joins two others playing jeu de l'oie (Game of the Goose), a board game associated with labyrinths and pilgrimage. While the three play, the game opens up maps and new roads to explore.

 

Following my own Bales' rules, I cannot pick a title twice. See Zig-Zag as an avatar of Raúl Ruiz's O Território [The Territory] from 1981.

 

Rat Life and Diet in North America (Joyce Wieland, 1968)

Jul

4

Independence Day

Rat Life and Diet in North America (1968)

Rats – gerbils actually – nibbling on the Stars and Stripes (via). DP: Joyce Wieland.

A movie set in the USA for Independence Day (USA)

“This film tells a story of rebels (played by real rats) and cops (played by real cats). After a long domination by cats, the rats escape from prison (this is their rebellion) and find refuge in Canada. There, they feed on organic produce from a garden where the grass hasn’t been sprayed with DDT.”

– Jonas Mekas, via

French-Canadian patriot Joyce Wieland tells a fable of freedom.

 

Coincidentally, the Canadian city of Trois-Rivières, scene of the final battle of the American Revolutionary War, also celebrates an Independence Day on the fourth of July.

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.