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poster

68

6.2

/3204/

60

/79/

64

/79/

3.4

/11035/

90

/89/

53

/9/

76

/22/

3.0

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

poster

67

5.8

/6610/

58

/149/

60

/187/

3.4

/16801/

88

/78/

47

/61/

75

/28/

3.5

The idea is simple / A married woman and a single man meet / They love, they argue, fists fly / A dog strays between town and country / The seasons pass / The man and woman meet again / The dog finds itself between them / The other is in one, / the one is in the other / and they are three / The former husband shatters everything / A second film begins: / the same as the first, / and yet not / From the human race we pass to metaphor / This ends in barking / and a baby's cries / In the meantime, we will have seen people talking of the demise of the dollar, of truth in mathematics and of the death of a robin." - JLG

poster

71

60

7.1

/3102/

71

/136/

64

/126/

4.0

/21580/

71

/109/

A young woman move towards a house that holds a potentially dangerous spirit that has been tormenting her. The woman tries to fight against the film itself as it starts to cause the world to collapse.

poster

53

5.7

/3044/

59

/42/

60

/56/

3.4

/5557/

58

/60/

40

/64/

64

/13/

1.0

A symphony in three movements. Things such as a Mediterranean cruise, numerous conversations, in numerous languages, between the passengers, almost all of whom are on holiday... Our Europe. At night, a sister and her younger brother have summoned their parents to appear before the court of their childhood. The children demand serious explanations of the themes of Liberty, Equality and Fraternity. Our humanities. Visits to six sites of true or false myths: Egypt, Palestine, Odessa, Hellas, Naples and Barcelona.

poster

87

30

8.9

/411/

86

/5/

88

/9/

4.4

/1970/

A 24-hour compendium of time-themed film clips, all synched to the time that appears on the clocks and watches within.

poster

57

20

6.6

/566/

50

/15/

52

/19/

3.5

/1233/

50

/5/

In a deconstruction of classic Hollywood codes, using repetitive single frame images, the re-editing of teenager movies produces an intense Oedipal drama.

poster

66

18

6.4

/242/

66

/6/

60

/14/

3.7

/965/

Starting with a piece of vintage porn, filmmaker Naomi Uman painstakingly removed each female figure from the footage using nail polish remover, leaving a striking absence where there's usually a fleshy presence. Uman's celebrated film is a smart retort to pornography's obsessive gaze at the female body.

poster

66

17

7.2

/310/

64

/10/

59

/15/

3.6

/823/

Arnold's source material is a piece of footage from the 1950s, eighteen seconds long and very typical for the period. A quiet take: A living room, a woman in an armchair. Her husband opens the door, kisses her, then moves out of the picture accompanied by a camera pan, his wife follows after him. In Arnold's film the sequence takes 16 minutes. Cadre by cadre, it becomes an exciting tango of movements. But Pièce Touchée is more than just a matter of forms; The reflections, distortions and delays it displays challenge cinema's stable system of space and time.

poster

58

?

6.9

/22/

35

/2/

3.5

/393/

Cleverly conceived and artfully edited, Christian Marclay's 7 1/2-minute video, Telephones, comprises a succession of brief film clips that creates a humorous narrative of its own in which the characters, in progression, dial, hear the phone ring, pick it up, converse, react, say goodbye and hang up. In doing so, they express a multitude of emotions--surprise, desire, anger, disbelief, excitement, boredom--ultimately leaving the impression that they are all part of one big conversation.

poster

60

?

7.1

/118/

35

/2/

66

/8/

3.5

/430/

This one is a collage of Hollywood melodramas of the 1950s and 1960s, filmed directly from the television set. The constantly recurring motifs of suspense and clichés of plot make it possible to move seamlessly among scenes from different films with different protagonists: uneasy sleep, getting up, listening at the door, turning on the lights, being startled, etc. In the montage, the movements and gestures of the actresses – stars like Lana Turner, Tippi Hedren, and Grace Kelly– seem choreographed and planned for each other. The soundtrack supports this effect with connecting passages of sound that imitate the stereotypes of the genre. The treatment concentrates the dramatic shift from the familiar to the eerie and shows how women become the victims of the voyeuristic glance of film.

poster

?

40

/1/

With MADE TO BE DESTROYED, Christian Marclay edits together a multitude of film clips in which artworks are destroyed. The minutia of the preliminary research and ensuing editing highlights a series of narrative and cultural patterns whereby art is the victim of violence. Whether sprayed (Batman, 1989), burnt (Equilibrium, 2002) or smashed (Le sang d’un poète, 1932 The Naked Gun, 1988), artworks are destroyed in moments that express rage against the self and others, the pain of loss, rebellion against a state or political power, or simply the perfect foil for a slapstick mishap.

poster

?

7.5

/13/

10

/1/

These six essays on film/image history reconstruct cinema history by 're-imagining' its origins, and its poetries, and use historical films themselves (as 'text') to provide the meanings of their creations. Together, these film essays comprise a critical/structural investigation of silent cinema ending with Segei Eisenstein's works (for Stalin) - from Lumiere and Melies through surrealism and horros, to montage and propaganda, we 're-invent' epochs in cinema that became its language and culture.

poster

?

5.4

/36/

10

/1/

40

/2/

24 Hour Psycho is the title of an art installation created by artist Douglas Gordon in 1993. The work consists entirely of an appropriation of Alfred Hitchcock's 1960 Psycho slowed down to approximately two frames a second, rather than the usual 24. As a result it lasts for exactly 24 hours, rather than the original 109 minutes. The film was an important work in Gordon's early career, and is said to introduce themes common to his work, such as "recognition and repetition, time and memory, complicity and duplicity, authorship and authenticity, darkness and light."

poster

?

In this conceptual video-art piece, Michelangelo Antonioni's Blow-Up (1966) is screened with the soundtrack from Brian De Palma's Blow Out (1981).

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