Jacques Rancière & Philippe Lafosse | Politics and Aesthetics in the Straubs’ Films

  Jacques Rancière, Philippe Lafosse and the public in conversation about Straub-Huillet after a screening of From the Clouds to the Resistance and Workers, Peasants Monday, February 16, 2004, Jean Vigo Cinema, Nice, France     PHILIPPE LAFOSSE: It seemed interesting to us, after having seen twelve films by Jean-Marie Straub and Danièle Huillet and talked about them together, to ask another viewer, a philosopher and cinephile, to talk to us about these filmmakers. Jacques Rancière is with us this evening to tackle a subject that we’ve entitled “Politics and Aesthetics in the Straubs’ Films,” knowing that we could then look into other…

riots and/or poetics [5/2020]

the high degree of social danger inherent in the choice of implements and the method of execution / expropriations and searches proletarian fires and corruption of the public good kidnappings and sequestering of persons beatings wounds / sufficient evidence of guilt can be inferred from the laws as formulated in the index books / carried out in houses and adjacent rooms in the middle of the night / 1) the copious documentation seized or acquired above all those parts that celebrate and program the violence and the armed struggle / the final goal being the general overthrow of the existing…

[ACTION #3] BRITISH SOUNDS | NACH ANNA MENDELSSOHN

indem man [nämlich] aufdeckte, dass die Geschichte der Menschen, wie sie in den BÜCHERN zu finden ist, eben doch kein Text ist, welcher auf den Seiten eines BUCHES geschrieben steht; indem man nämlich entdeckte, dass die Wahrheit der Geschichte sich nicht aus ihrem manifesten Diskurs herauslesen lässt, weil der Text der Geschichte eben kein Text ist, in dem eine Stimme [der LOGOS] sprechen würde, sondern die [als solche] gänzlich unhörbare und unlesbare Notation der Auswirkungen einer Struktur von Strukturen Louis Althusser | Das Kapital lesen     Diese Fähigkeit sich durch Literatur zu verwandeln Während du mitten im Gespräch den…

Jacques Rancière | The Fraternal Image; interviewed by Serge Daney & Serge Toubiana

Originally published as ‘L’Image Fraternelle‘, Cahiers du Cinéma, nos. 268-269, part of a special issue dedicated to “Images de Marque” (July-August 1976). Source: Diagonal Thoughts     Cahiers: If we consider two films, ‘Milestones’ (Robert Kramer & John Douglas) and ‘Numéro Deux’ (Jean-Luc Godard & Anne-Marie Miéville), it seems to us that the first has a genealogical dimension that is completely absent in the second. We could say that ‘Milestones’ has a place in a history of “genres” (American cinema) while ‘Numéro Deux’ has a place in a history of “forms” (European cinema). The result is that ‘Milestones’, but perhaps…

The Power of Political, Militant, ‘Leftist’ Cinema. Interview with Jacques Rancière

  By Javier Bassa Vila Jacques Rancière’s thought is undisciplined, at least in two different but interlinked senses. On the one hand, in the 1970s Rancière suggested a reading of Marxism that broke with the dominant interpretations of the time, specially with the scientifist Marxism imposed by Althusser (see La leçon d’Althusser, originally published in 1976 and re-published in 2012 by La Fabrique – and due to come out soon in Spanish). On the other hand, the broad interest that his thought has triggered at an international level seems to be also the consequence of another in-discipline: his reflections are…

Jacques Rancière | Identifications of the People

The people has always been a double figure. At the time of the French revolution, it emerged in the opposition between subject of sovereignty and actual population: miserable people or ignorant and fanatic populace. But this duality is still much older. Aforetime the demos in Athens referred to both the sovereign people of the Assembly and the clutter of common people. Democracy is first of all a sobriquet invented by the Athenian elites to designate this inconceivable government of common people. Each time the people is declared sovereign, the same fundamental paradox, under diverse forms, makes the scene. […]

“Ardent Hope” – Interview with Jean-Luc Godard – Cahiers du cinéma

Source: KINO SLANG   JEAN-LUC GODARD:  …we’re not going to talk about the Théâtre des Amandiers. I’ve no idea what happened there. Nicole Brenez is taking care of it. I wanted to see you, actually. It’s a bit like seeing the great grandchildren of Cahiers du cinéma. I was curious to see what became of them. CAHIERS DU CINÉMA: We were very moved, stunned even, by the film at Cannes, especially the whole ending with “ardent hope” that gave a meaning to this journey through the ruins. The entire first section on the eternal remake of war, then Joseph de…

Pier Paolo Pasolini | A Desperate Vitality

  I (Draft, in a cursus in present-day jargon, of what has just transpired: Fiumicino, the old castle, and a first real idea of death.) As in a film by Godard: alone in a car speeding down the motorways of Latin neo-capitalism — returning from the airport — [where Moravia stayed behind, a pure soul with his bags] alone, “racing his Alfa Romeo“ in sunlight so heavenly it cannot be put into rhymes not elegiac — the finest sun we’ve had all year — as in a film by Godard: under a sun bleeding motionless unique, the canal of the…

riots and/or poetics [10/2019]

TRILCE XXVII    That flood frightens me, / good memory, strong sir, implacable / cruel sweetness. It frightens me. / This house does me complete good, complete / place for this not knowing where to be. // Let’s not go in. It frightens me, this favour / of returning by minutes, by blown up bridges. / I’m not going ahead, sweet sir, / brave memory, sad / singing skeleton. // What content, of this haunted house, / gives me deaths by mercury, and blocks / with lead my conduits / to sheer reality. // The flood that doesn’t know how…

Jean-Marie Straub / Danièle Huillet | Hölderlin, That Is Utopia

  Jean-Marie Straub: Hölderlin experienced the birth of the Wilhelmine Age. He was a young poet, full of high-flying plants; he said that himself. He was twenty-eight years old when he wrote The Death of Empedocles. In Germany between 1789 and 1798 all kinds of things had happened. Things had gone well for the ruling class, less well for other people. Büchner had had to flee, and some others as well . . . Hölderlin dreamed of the revolution—let’s call it that, even if the word is no longer in fashion today—a revolution that did not take place. As an…

Mehdi Belhaj Kacem | Tomb for Guy Debord

Guy Debord was the avant-garde’s Christ. Guy Debord was the avant-garde’s Christ. He was immolated by his own ideology, which he more than anyone (Tzara, Duchamp, Artaud, the Viennese Actionists…) had pushed to its extremes. He covered all of its possibilities, all of its impasses. His extreme attempts were neither successes, nor failures. Today, his path should be evaluated through other methods: the ones left to us in the wake of the avant-garde’s disappearance. To put it as Reiner Schürmann does: truth is a “conflictuality without agreements.” It is within Debord’s insurmountable contradictions, whose political, aesthetic, and existential preoccupations were…

Jean-Luc Godard’s “Militant Filmmaking”; by Irmgard Emmelhainz

Irmgard Emmelhainz | Between Objective Engagement and Engaged Cinema: Jean-Luc Godard’s “Militant Filmmaking” (1967–1974)   It is often argued that between 1967 and 1974 Godard operated under a misguided assessment of the effervescence of the social and political situation and produced the equivalent of “terrorism” in filmmaking. He did this, as the argument goes, by both subverting the formal operations of narrative film and by being biased toward an ideological political engagement.1 Here, I explore the idea that Godard’s films of this period are more than partisan political statements or anti-narrative formal experimentations. The filmmaker’s response to the intense political climate that…

Farocki / Godard: Film as Theory; by Volker Pantenburg

Farocki / Godard | Film as Theory  PDF  Volker Pantenburg   There is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuously been attempts to express theoretical issues by combining shots, thus creating a visual form of thinking. This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki to explore the fundamental tension between theoretical abstraction…

HERE & ELSEWHERE / HIER UND ANDERSWO

[…] Before she too is slaughtered by the Bourgeois (the mob of order), Rosa Luxemburg writes about Bacchanalia, which the bourgeoisie regularly holds upon its victims. From the perverse happiness of the tormentors: the whispering of the pariahs in secret. Gaps of ghastly proportions. Maintained by continuous police work, by the breeding of greenhouse roses, laws & border installations. The liquidation of the poetic word. Chalk circles one makes around a pair of shoes, a bicycle, a pool of blood [the stigmata of capitalism].

Jacques Rancière | Staging the People

Jacques Rancière | Staging the People The Proletarian and His Double  PDF   These essays from the 1970s mark the inception of the distinctive project that Jacques Rancière has pursued across forty years, with four interwoven themes: the study of working-class identity, of its philosophical interpretation, of “heretical” knowledge and of the relationship between work and leisure. For the short-lived journal Les Révoltes Logiques, Rancière wrote on subjects ranging across a hundred years, from the California Gold Rush to trade-union collaboration with fascism, from early feminism to the “dictatorship of the proletariat,” from the respectability of the Paris Exposition to…

Harun Farocki / Kaja Silverman | Speaking about Godard

Kaja Silverman and Harun Farocki Speaking about Godard Full book / PDF   “Probably the most prominent living filmmaker, and one of the foremost directors of the postwar era, Jean Luc-Godard has received astonishingly little critical attention in the United States. With Speaking about Godard, leading film theorist Kaja Silverman and filmmaker Harun Farocki have made one of the most significant contributions to film studies in recent memory: a lively set of conversations about Godard and his major films, from Contempt to Passion. Combining the insights of a feminist film theorist with those of an avant-garde filmmaker, these eight dialogues–each representing…

Jean-Luc Godard | What is to be done? // British Sounds, by J.-L. Godard [DVG]

  Written in January 1970 at the request of Simon Field and Peter Sainsbury for the magazine Afterimage, produced by Peter Whitehead. Published in Afterimage n°1, April 1970. Translated from French by Mo Teitelbaum. We must make political films. We must make films politically. 1 and 2 are antagonist to each other and belong to two opposing conceptions of the world. 1 belongs to the idealistic and metaphysical conception of the world. 2 belongs to the Marxist and dialectical conception of the world. Marxism struggles against idealism and the dialectical against the metaphysical. This struggle is the struggle between the…

Jacques Rancière | The Red of ‘La Chinoise’: Godard’s Politics

  How should we understand the politics Godard puts into play with his cinematographic practice in La Chinoise? The opinions on the matter have more or less followed the fluxes and refluxes of the left. Accused when first released of being just a caricature, and not a serious representation, of real militant Maoists, the film was later praised as a brilliant anticipation of the events of May 1968, and as a lucid look both at the passing infatuation with Maoism by bourgeois youngsters and at the outcomes of that infatuation: the return to order and terrorism. The question of whether…

Jacques Rancière | Documentary Fiction: Chris Marker and the Fiction of Memory

The Last Bolshevik is the title of the film Chris Marker dedicates to the memory of Alexander Medvekin, the Soviet filmmaker who was born with his century and who died during the Perestroika. To speak of ‘memory’ is to raise the paradox of the film at the outset. Marker’s film cannot very well hope to preserve the memory of a filmmaker whose films we have not seen and whose name was, until quite recently, unfamiliar to most of us. Nor is this situation much different with Medvekin’s compatriots, who are as likely to know his films as we are. The…

riots and/or poetics [8/2018]

“he is as a neighborhood beauty queen / lauded with ribbons and canes / and with his lapdogs / who lick at the rottenness / seated at the right side / of mama democracy / he dialogues long / with the mouth of a murderer. / he raises his hand in that sustained and easy style / wiggles his fat ass / and with the boyish brilliance of an ephebe / he shits in the country / with all his soul“ Roberto Jorge Santoro | POETRY IN GENERAL (II)   Manson & Mendoza; Windsuckers & Onsetters: Sonnots for Griffiths Andrea…

Gilles Deleuze; Two Regimes of Madness (1975-1995)

Gilles Deleuze; Two Regimes of Madness, Revised Edition | Texts and Interviews 1975-1995 | Full book     Gilles Deleuze Edited by David Lapoujade | Translated by Ames Hodges and Mike Taormina The texts and interviews gathered in this volume cover the last twenty years of Gilles Deleuze’s life (1975-1995), which saw the publication of his major works: A Thousand Plateaus (1980), Cinema I: Image-Movement (1985), Cinema II: Image-Time (1985), all leading through language, concept and art to What is Philosophy? (1991). They also document Deleuze’s increasing involvement with politics (Toni Negri, terrorism, etc.). The texts of Two Regimes of Madness complete…

Jacques Rancière; The Unforgettable

    1 In front of the camera lens It is an image from turn-of-the-century Saint Petersburg, both ordinary and extraordinary at the same time. The imperial family is passing by, surrounded by an escort of officers and dignitaries. The crowd gathered there, at the side of the road, is addressed by an officer with an imperious gesture: when the Tsar passes, the thing to do is to remove your hat. The commentator’s voice is heard: I don’t want this image to be forgotten. What is Chris Marker trying to tell us by placing this image at the opening of…