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ATTEMPT OF/AT CINEMA
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ns
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JI.HLAVA — "WOODSTOCK OF DOCUMENTARY CINEMA"
The 27th Ji.hlava International Documentary Film Festival, one of the largest documentary film festivals in Central and Eastern Europe, took place on the 24th-29th October. The Dutch film historian Thomas Elsaesser, who specialises in film festivals, described Ji.hlava as “one of the most original festivals I have ever attended”, and the Portuguese director Manuel de Oliveira declared it “the Mecca of documentary film.”
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VIDEO GAME (ON THE QUESTION OF THE OBJECTIVE GENESIS OF IMAGES)
Watching a film, we are immersed in the cinema, we are captivated and grinded by the unfolding story. But cinema does not respond to us in any way. Cinema ignores our attempts to intervene in its own course. Cinema has incredible internal power. (Cinema is owned, first of all, by the director himself). But what if it were possible? What if it turned into a living element with which we could interact? For example, to intervene in the plot of what is happening on the screen?
Conversation
DOCUMENTARY, CLIMATE CHANGE AND CAPITALISM: INTERVIEW WITH KRYŠTOF ZVOLÁNEK
Krystof co-founded audiovisual platform “Remízek”, as a wide-open platform for connecting diverse artists, creators, and hobby-filmmakers. Without hierarchy they try to bring topics of protecting biodiversity to a broad audience through supporting local public interests by producing engaged audiovisual content which covers the case while it is still happening.
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ABOUT THE PICTURE (CONTINUED)
It is difficult to talk about a photograph. It is impossible to understand a snapshot without understanding how an image is formed and how time flows. But without understanding what a snapshot is, it is also impossible to understand what a series of snapshots stitched together in motion is - a film image.
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МАНК: РОЗРИВ УГОДИ
Манк крокує навколо стола, заповненого гостями, неспішно розвиваючи історію Дон Кіхота сучасності. Вказуючи, конкретно вказуючи, кому він протистоїть. Стоїть перед ними, навпроти, і це вже не бунт задля бунту, що звернений на все навколо, стріляй або бий у всі боки, ні. І Веллс, вже за мить, на Норт-Верде, також вкаже навпроти. Протистояння стає максимально конкретним.
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SPILLED INK
In conclusion, it is impossible to tell a story without telling it through yourself. When making films, Kieślowski always directs the camera at himself, but he does it in such a way that no one notices.
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ABOUT THE CINEMA
Before we can talk about cinema, we must forget cinema. One should find in one's experience the traces of the influence of cinema, one should find the images that have arisen not only from watching cinema, but also from interpreting cinema. One should forget cinema in order to be genuinely surprised by this phenomenon and to admire it.
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DEMARCATION OF CINEMA
The gaze in cinema is a boundary that the viewer must break through to free themselves from the grip of illusion and touch the true border between us and the cinema, which is not perceived through the gaze but sensed by a completely different organ.
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FROM THE HEIGHTS OF LOVE
There is only one love mentioned aloud, in the car before the final scene: "You know, Nitto's fond of you...." The consequences of this love are obvious — they’ve been cast for posterity in concrete.
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AN ATTEMPT TO RECONCILIATION
«Pourquoi le metteur en scène est le seul à ne pas baiser dans La nuit américaine?» - This was the inquiry posed by our friend. Naturally, I felt an initial urge to distance myself from him. To move away. To cross the street. To spit
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