Everything that has a beginning has an end

filmmakers

‘The boundary between our heart and the rest of world is just a convention, waiting to be transcended.’

 
 


Death at Work: The Mirror sees it all

“In his memoirs Nicolas Roeg (who passed away last week), who cast David Bowie as alien in The Man Who Fell To Earth, refers to the mirror as ‘the very essence of cinema’. He who searches for mirror scenes in films and series will be confronted with indestructible metaphors. David Bowie united them all.”

A video essay (click this link if the above embed is not working) by Maarten Slagboom and Menno Kooistra

Films: David Bowie – Blackstar (2016) The Man Who Fell To Earth (1976) The Lady From Shanghai (1947) Eureka (1983) The Cabin In The Woods (2012) Performance (1970) Track 29 (1988) Bad Timing (1980) Don’t Look Now (1973) Walkabout (1971) Duck Soup (1933) American Psycho (2000) Frankie And Alice (2010) Happy Days (1974-1984) Eyes Wide Shut (1999) The Lord Of The Rings: The Fellowship Of The Ring (2001) Pulp Fiction (1994) Taxi Driver (1976) La Haine (1995) The 25th Hour (2002) Raging Bull (1980) Under The Skin (2013) Op Afbetaling (1992) An American Werewolf In London (1981) Shaun of the Dead (2004) Twin Peaks (S02E08 & S02E22) Snow white and the Seven Dwarfs (1937) Alice Through The Looking Glass (1988) Dead of Night (1945) Harry Potter and the Sorcerer’s Stone (2001) Triangle (2009) Sucker Punch (2011) Orpheus (1950) Blood of a Poet (1932) The Fly (1986) Black Swan (2010) Nymphomaniac (2013) The Shining (1980) Carrie (1976) Over Canto (2011) Dracula (1931) The Mirror/Zerkalo (1975) David Bowie – Lazarus (2016) David Bowie – Look Back in Anger (1978) David Bowie – Loving the Alien (1984) David Bowie – Thursday’s Child (1999) David Bowie – Boys Keep Swinging (1978) David Bowie – Miracle Goodnight (1992) The Hunger (1980) David Bowie – Pierrot in Turquoise (1967)

Paintings: Narcissus by Caravagio (1594-1696) Echo and Narcissus by John William Waterhouse (1903) and Narcissus by Gerard van Kuijl (1640)

Music: Jeff Russo – Dr. Katz (2016) Jeff Russo – The Waving Cat (2016) Jeff Russo – The Squadroom (2016) Chris Isaak – Baby Did a Bad Bad Thing (1995)

 

 


To better understand our position as living beings in a living world

 

“An inspired collaboration between filmmakers Peter Mettler (The End of Time) and Emma Davie (I Am Breathing) and radical writer and philosopher David Abram (The Spell of the Sensuous), Becoming Animal is an urgent and immersive audiovisual quest, forging a path into the places where humans and animals meet, where we pique our senses to witness the so-called natural world—which in turn witnesses us, prompting us to reflect on the very essence of what it means to inhabit our animal bodies.”

Excerpts from an interview with the filmmakers,

“David’s writing is very poetic and descriptive, but in the cinema it is the images and sounds that do most of the work.”

…we describe “nature” as something fundamentally apart from ourselves. This is a central paradox that we were always aware of and engaged with throughout the process of making Becoming Animal. Although the film is partially about our urge to exist beyond our limited notion of self and other – to claim a more expanded sense of being that connects us sensorially to everything – there is also an additional aspect that even to think this realization is to already be one step removed from the immediacy of experience. So the perennial question of how the mind both liberates and limits is also present, and film, with its endless hall of mirrors, can reflect this. We hope the film exists in a space in which the cumulative effect of David’s ideas, woven into a cinematic journey, will start to create new links in the minds of the audience, resonating with their own deep questions about these themes.”

“It is a paradox to make a film about our senses and the connection to our surroundings, while also addressing how these technologies have changed our relationships to our surroundings. But that is exactly what we wanted to embrace, so that as one watches the film there is an awareness of the mediated nature of the experience of cinema itself. This is why at times you will hear the rustling, breathing animal (Peter) that holds the camera as he makes his way through the brush, and why you see the crew, cameras, and David – our “guide” – intermittently throughout. This layer provides a way to better understand what we are all going through, whether as filmmakers, tourists, or as a cultural audience.”

“We hope that the film addresses in some way what we have been calling a crisis of perception, exemplified by the fact that while our culture possesses more tools and knowledge than ever before, our understanding and awareness of the world remains quite limited. It seems that, in looking into the root of our problems, it’s also important to address how we actually see.”

“Empathy, awareness and reciprocity are qualities we hope Becoming Animal may evoke, to better understand our position as living beings in a living world.”

The Village & The Forest

“While persons brought up within literate culture often speak about the natural world, indigenous, oral peoples sometimes speak directly to that world, acknowledging certain animals, plants, and even landforms as expressive subjects with whom they might find themselves in conversation.”

David Abram


Art and the Occult

 

Gary Lachman spoke recently at The Black Light Exhibition, an event sponsored by The Center for Contemporary Culture Barcelona.

Lachman, whose presentation begins at about the 5:30 mark in the above video, briefly covers a history of the relationship between art and the occult. He speaks for roughly 35 minutes tracing the roots of this phenomenon from paleolithic cave paintings to the varied works of William Blake to the secret Gnostic paintings of Hilma af Klint and to the expressions of contemporary artists such as the filmmaker Alejandro Jodorowsky, which is then followed by a Q and A session.

This exhibition stood on the shoulders of another exhibition curated by Maurice Tuchman in the 1980’s in Los Angeles, ‘The Spiritual in Art: Abstract Painting 1890-1985’.

Tuchman in the introduction to the wonderful book published in conjunction with this event states,

“Abstract art remains misunderstood by the majority of the viewing public. Most people, in fact, consider it meaningless. Yet around 1910, when groups of artists moved away from representational art toward abstraction, preferring symbolic color to natural color, signs to perceived reality, ideas to direct observation, there was never an outright dismissal of meaning. Instead artists made an effort to draw upon deeper and more varied levels of meaning, the most pervasive of which was the spiritual.”

The cover of the accompanying publication for The Black Light Exhibition

From the CCCB site,

“Esoteric traditions can be traced back to the very origins of civilization, having served at different times to structure philosophical, linguistic, scientific or spiritual ideas. Despite their importance for the development of twentieth-century art, they tend to be ignored or disparaged these days due to the dominance of rationalistic thinking and the difficulty of talking about these subjects in clear, direct language.

In recent years, however, many artists have taken a renewed interest in subjects such as alchemy, secret societies, theosophy and anthroposophy, the esoteric strands in major religions, oriental philosophies, magic, psychedelia and drug-use, universal symbols and myths, the Fourth Way formulated by the Armenian mystic Georges Gurdjieff, etc., generating an interest in these fields that had not existed since the counterculture of the sixties and seventies.

According to the writer Enrique Juncosa, curator of this exhibition, this interest may be due to the fact that we are, once again, living in a restless and unsatisfied world, worried about new colonial wars, fundamentalist terrorism, serious ecological crisis and nationalist populism, just as in the sixties and seventies people feared an imminent and devastating nuclear catastrophe. Furthermore, much of today’s mainstream art is actually rather boring due to its complete lack of mystery and negation of any kind of poetization or interpretation of our experience of it.””

 

Photo by Asa Lunden

Photo from a 2013 Exhibition of works by the Swedish mystic Hilma af Klint who as Lachman describes in his presentation is probably the first Abstract artist, predating Wassily Kandinsky

 


The Resistance of Poets

[N]obody is willing to invest money in poetry. But film will continue existing thanks to the resistance of…poets. You can be sure that cinema history is made of films that recreate the inner world of their artist, and not the movies we see today and...

“[N]obody is willing to invest money in poetry. But film will continue existing thanks to the resistance of…poets. You can be sure that cinema history is made of films that recreate the inner world of their artist, and not the movies we see today and that I hope will not continue to please the public for much longer. Since the beginning, cinema has been in a difficult situation. To make movies, you need money. To write poetry, all you need is some paper and pencil. I bow to those directors who keep trying, with what they have, to make their own movies. We have seen that these films have a specific, personal rhythm.”

Andrei Tarkovsky

(From the wondrous site created and curated by Edwin Adrian Nieves  –   A-BitterSweet-Life.)

 


The Portals of Bresson


Let’s Study the Weird, Shall We?

Art by Matt Melanson

 

There is a new podcast in town, Weird Studies, hosted by Phil Ford and J.F. Martel –

As they describe it,

“Weird Studies” is a scholarly field that doesn’t and can’t exist.

The Weird is that which resists any settled explanation or frame of reference. It is the bulging file labelled “other/misc.” in our mental filing cabinet, full of supernatural entities, magical synchronicities, and occult rites. But it also appears when a work of art breaks in on our habits of perception and ordinary things become uncanny. ​The Weird is easiest to define as whatever lies on the further side of a line between what we can easily accept from our world and what we cannot. And it defines an attitude towards whatever lies on that side of the line: a willingness to remain suspended between explanations and abide in strangeness.”

In this episode the two connect the dots and discuss those connections and surrounding pathways into the origin of contemporary existential fear and how it manifests in recent works such as David Lynch and Mark Frosts’ ‘Twin Peaks – The Return’.

Along the way their map include signposts from Philip K. Dick, Norman Mailer, Stanley Kubrick, Carl Jung, William Burroughs, Guy Debord, H.P. Lovecraft and many others.

A fascinating and thought provoking look into the abyss, to synchronous expressions of art, and the implications for modern life as we live under the shadow of the mushroom cloud.

 


“Cinema, at its most elemental level, is a language beyond words.”*

* Todd Haynes

“I have no doubt that whatever kinds of movies you like, seeing ‘Wonderstruck’, you will not have seen anything like it before.

It intercuts a story of one little deaf girl in 1927 who travels into New York City searching for answers, with the story of a little boy who becomes deaf in 1977, fifty years later, also on a journey.

And so the question keeps getting posed every time you intercut from black and white to color, silent film to sound film, why are these two stories sharing one movie?

When you really are excited by, motivated by the richness and strangeness of popular culture that we all share – movies, music, you realize that everything that’s great has been gotten away with and that it has sort of snuck into the conventional languages that we come to expect and that’s when our minds get percolated.  That’s how we get pricked by a new experience.

And it’s also what reinvigorates the respective mediums involved.  Getting away with it I think is what culture is about.”

Todd Haynes


Send in the Owl

“[It’s] too easy to put symbols in service of narrative. The trick is putting narrative in service of symbols.”  –  J.F. Martel in a recent tweet regarding how to watch Twin Peaks

“Artists end up producing symbols, beacons that point to those vast regions of reality which psychoanalysts call the unconscious. In other words, art doesn’t belong to the conscious world. It belongs on the same plane as dreams, visions and synchronicity.”  J.F. Martel

“True works of art are powerful symbolic constructs, genuine oracles that can give society access to what’s going on below the threshold of collective consciousness.”  – JFM

“I learned that just beneath the surface there’s another world, and still different worlds as you dig deeper.”  David Lynch

“It makes me uncomfortable to talk about meanings and things. It’s better not to know so much about what things mean.”  DL

“Because the meaning, it’s a very personal thing, and the meaning for me is different than the meaning for somebody else.”  DL

 “When something’s abstract, the abstractions are hard to put into words unless you’re a poet.”  DL

 “Cinema is a language that can say abstractions. I love stories, but I love stories that hold abstractions–that can hold abstractions. And cinema can say these difficult-to-say-in-words things.”  DL

“I like things that go into hidden, mysterious places, places I want to explore that are very disturbing.”  DL

“In that disturbing thing, there is sometimes tremendous poetry and truth.”  DL

“As Henri Bergson says, if we could perceive reality directly, we wouldn’t need art.”  JFM

“The reason we need art is that the intellect is constantly reducing reality to a conceptual order that accounts only for an infinitely small portion of what is real.”  JFM

“If things get too specific, the dream stops. There are things that happen sometimes that open a door that lets you soar out and feel a bigger thing. Like when the mind gets involved in a mystery. It’s a thrilling feeling. When you talk about things, unless you’re a poet, a big thing becomes smaller.”  DL

I don’t know why people expect art to make sense when they accept the fact that life doesn’t make sense.”  DL

“Symbols are signs, but signs pointing us to the unknown, perhaps unknowable aspects of reality. They call us to the dark expanses that extend infinitely on every side of the small castellated island that is the human world.”  JFM

“Met on its own ground, the work of art as vector of symbols is an inexhaustible producer of meaning. Invariably, the work reveals more than its creator ever intended and more than any interpreter can fathom.” JFM

“True beauty is not pretty. It is a tear in the facade of the everyday, a sudden revelation of the forces seething beneath the surface of things.”  JFM

“The more unknowable the mystery, the more beautiful it is.”  DL

“I love mysteries. To fall into a mystery and its danger … everything becomes so intense in those moments. When most mysteries are solved, I feel tremendously let down.”  DL

“I want things to feel solved up to a point, but there’s got to be a certain percentage left over to keep the dream going. It’s like at the end of Chinatown: The guy says, ‘Forget it, Jake, it’s Chinatown.’ You understand it, but you don’t understand it, and it keeps that mystery alive. That’s the most beautiful thing.”  DL

“When you sleep, you dont control your dream. I like to dive into a dream world that I’ve made, a world I chose and that I have complete control over.”  DL

“I would love to be in that state [of a waking dream] all day long, but you have to have some quiet. The world is getting louder every year, but to sit and dream is a beautiful thing.”  DL

“A lot of people assume I have very strange dreams, but I’ve only had one dream that affected a film. I don’t dream much at night. Most everything is daydreams.”   DL

“I like making films because I like to go into another world. I like to get lost into another world.”   DL

“My movies are film-paintings – moving portraits captured on celluloid. I’ll layer that with sound to create a unique mood — like if the Mona Lisa opened her mouth, and there would be a wind, and she’d turn back and smile. It would be strange and beautiful.”  DL

“In my mind it’s so much fun to have something that has clues and is mysterious – something that is understood intuitively rather than just being spoon fed to you. That’s the beauty of cinema, and it’s hardly ever even tried. These days, most films are pretty easily understood, and so people’s minds stop working.”  DL

 “Through the darkness of future past, the magician longs to see, one chance out between two worlds, fire walk with me.” – Twin Peaks


David Lynch: The Art Life

From the wonderful blog by Rhys Tranter comes this link to an interview with the producer of the new documentary about David Lynch. A must see for anyone interested in Lynch who in his own words provides some insight into his early history and creative process.

Jon Nguyen on a new documentary exploring the life and work of the American artist and filmmaker

via David Lynch and The Art Life — Rhys Tranter