Films byTexts by 1964
Article NL
29.01.2020
Vivre sa vie (Het verhaal van Nana S.) van Jean-Luc Godard
Frieda Grafe 1964
Vertaald door

    Godards camera bewaart een afstand; hij registreert. Godard weigert de kijker via dramaturgische manipulaties een mening op te dringen. De werkelijkheidsaanspraak van zijn kunst berust niet op een zo trouw mogelijke nabootsing van de werkelijkheid, maar manifesteert zich in de erkenning van het fictieve karakter ervan.

    FILM
    Dokyument rojo
    On the Road: A Document
    Noriaki Tsuchimoto, 1964, 54’

    “Suzuki Satsuo’s skilfully manipulated hand-held camera with a long lens is meticulous, at times sentimental, at times bold, focusing on his subject in a way that seems as though it were composing a melody with images. On the Road showed us a new, powerful type of image.

    FILM
    Aru kikan joshi
    An Engineer’s Assistant
    Noriaki Tsuchimoto, 1964, 37’

    In 1962 verscherpte de Japanse nationale spoorwegmaat­schappij (JNR) de werkschema’s om een antwoord te bieden op de congestie op het spoor die veroorzaakt werd door een nieuwe sneltrein en het goederentransport in aanloop naar de Olympische Spelen van 1964.

    FILM
    Gertrud
    Carl Theodor Dreyer, 1964, 118’

    « Dreyer a pressenti le cinéma futur car il a eu la force de filmer la parole. »

    Manoel de Oliveira1

     

    FILM
    ...A Valparaíso
    Joris Ivens, 1964, 34’

    “[Our film] will have a personal style. Not orthodox or academic. Not a social document or a militant or revolutionary film or with a message or a solution. Not educational. The film is not commissioned by the unions or by the department of urbanization of the municipality of Valparaiso.

    FILM
    Les parapluies de Cherbourg
    Jacques Demy, 1964, 91’

    Mécanicien: J’aime pas l’opéra. Le ciné, c’est mieux ! Tous ces gens qui chantent, tu comprends, ça me fait mal. J’aime mieux l’ciné !

    Mme Emery: Ne pleure pas ! Regarde-moi. On ne meurt d'’amour qu’au cinéma.

     

    FILM
    Soy Cuba
    I Am Cuba
    Mikhail Kalatozov, 1964, 135’

    “Unlike The Birth of a Nation, Battleship Potemkin, or Triumph of the Will, I Am Cuba is not a nationalist call to arms.

    FILM
    Sleep
    Andy Warhol, 1964, 321’

    “Andy Warhol is taking cinema back to its origins, to the days of Lumière, for a rejuvenation and a cleansing. In his work, he has abandoned all the ‘cinematic’ form and subject adornments that cinema had gathered around itself until now.

    Compilation EN
    25.01.2017
    On Sleep

    A strange thing occurs. The world becomes transposed, intensified, electrified. We see it sharper than before. Not in dramatic, rearranged contexts and meanings, not in the service of something else [...] but as pure as it is in itself: eating as eating, sleeping as sleeping, haircut as haircut.

    Compilation EN
    25.01.2017
    On Sleep

    A strange thing occurs. The world becomes transposed, intensified, electrified. We see it sharper than before. Not in dramatic, rearranged contexts and meanings, not in the service of something else [...] but as pure as it is in itself: eating as eating, sleeping as sleeping, haircut as haircut.