But most interestingly, this kind of
thinking physicalises relationships between characters (the
film wants us to *feel* this physicality). The most
beautiful example in Werckmeister Harmonies occurs in the
main square of the town, where visiting showmen have brought
an enormous stuffed whale. The townsmen (seemingly *all* the
men of the town) stand around in loose groups, perhaps
waiting for work, or simply there to keep warm by fires. At
this point the film begins to tour the faces of the men,
tenaciously, almost impertinently, gliding from one cold
furrowed brow to another: here the film seems to be asking
the men something, demanding a response, forcing a
realisation perhaps. Each time the film settles on another
face, the pause seems to reveal a 'questioning' nature to
the film's thinking. Thus the film not only connects each
man to the other, but politicises this linkage -- the film
is joining the men together and asking something of them (to
wake up, to revolt, to *move*).
("The Way that Movements Speak", vol. 5, nr 10 (2001).)
7 August 2008
open access journals & film & bela tarr
My colleague informed us about this list of open access philosophy journals. The idea is great. Free access to philosophical texts on many different subjects & no big, evil publishing firms who profits on the (mostly) unpaid work of academics. Yay! I haven't looked through the entire list yet, but I already found one interesting journal: Film-Philosophy, which features longer essays on various topics, but also reviews. I found one good article on Bela Tarr, for example. The author, Daniel Frampton, suggests a very interesting reading of Werckmeister harmóniak. He tries out the idea that Tarr, using long, inquisitive shots, wants to illuminate the "gaplessness of human experience":
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment