Archive for September, 2006

Shomei Tomatsu

Thursday, September 28th, 2006

Shomei Tomatsu Photograph

The above image from Japan’s Knowing Shutterbug: An atomic bomb survivor chronicles a nation’s unraveling, and rebirth. By Deborah Garwood.

The Love/Hate World of Shomei Tomatsu

Shomei Tomatsu, Brookman noted, “transformed the notion of documentary photography from more formal concerns…into a much more emotional image-making…He didn’t simply settle into one style.”
The latter, combined with Tomatsu’s reluctance to travel abroad, may help explain his relative obscurity in the west.”

More photos from here.

SF MoMA interactive feature: The Skin of the Nation –Shomei Tomatsu

Shomei Tomatsu

The above photo from Yalepress.

Thanks Hal for Sho(w) me (i) reminder.

Google MarkRothko 8

Wednesday, September 27th, 2006

Happy Birthday Google!
I am going to hide this and that.

(Mark Rothko meets Jackson Pollack at Google 8, well, sort of.)

Speaking of mess just saw this from Wooster Collective.
Shit We’re Digging: Kaza Razat Video For Control Arms.

Border Patrol

Sunday, September 24th, 2006

Guard DogBorder Patrol digital image by Fung-Lin Hall
Weekend at the park, many suspicious cars are parked outside the gate.

Owl and the pussy dogs or two chihuahua patrol.
Owl and Pussy dogs Digital image by Fung Lin Hall

Who are questioning the wisdom of dogmacracy?
(Daisy the brown and white cowchihuahua is a Mexican and possibly illegal. She will defend this adopted land with great determination.)

RIP Sven Nykvist

Wednesday, September 20th, 2006
  • 1aaCinemaSven

    From greencinedaily came this sad news, Sven Nykvist (1922 – 2006) passed away.
    Obituary from guardian here.

    Face to face (from Ingmar Bergman site)

    A genius of cinematography with an outstanding feeling for light.
    Born Sven Vilhem Nykvist on 3 December 1922 in Moheda, Kronobergs län, the son of non-conformist missionaries to Africa.

    Persona Persona Ingmar Bergman and Sven Nykvist

  • Slide show – Sven Nykvist was the medium’s Rembrandt

    When Ingmar and I made Winter Light (1963), which takes place in a church on a winter day in Sweden, we decided we should not see any shadow in it at all because there would be no logical shadow in that setting. Read more here (Shooting With Ingmar Bergman: A Conversation with Sven Nykvist)

    The trailer for “The Unbearable Lightness of Being” (Sven did that one as well!)

    From On the shooting of the Sacrifice.

    As a rule, however, it was Tarkovskij’s own visions that counted even if he at times had a hard time communicating them, partly due to the language barrier – he had to constantly work through an interpreter – but primarily due to the fact that he first and foremost wanted to communicate emotions, moods, atmosphere. By images, not by words. He wanted to impart a soul to objects and nature. Here he actually went further than Bergman ever did.

    Cries and Whispers Cries and Whispers
    List of films he worked on here.
    (Don’t forget Pretty Baby and Fanny and Alexander.)

    Sven directed “Oxen” (from In the Company of light)

    Sven was a father figure to Lasse Hallstrom with whom he made several films most famously What’s Eating Gilbert Grape (1993).

    The Lightning Keeper

    Tuesday, September 19th, 2006

    A Review of Starling Lawrence, The Lightning Keeper 2006.

    Nikola Tesla

    Les Poupées Russes

    Monday, September 18th, 2006

    Fuzzy Romain Duris in youtube, much better and more interesting than the actual trailer.

    Romain was great here, the remake and an improvement of Fingers.

    Romain Duris

    Doesn’t he remind you of Bruce Lee?

    Yuyake Take Out

    Monday, September 11th, 2006

    Yuyake Take Out digital image by Fung Lin Hall
    This image was made a few hours before the US Open for Federer vs. Roddick. Federer took Roddick out.
    Sept 11, 2006 is remembered for a day after for the wonderful match, merci Roger.

    Enlarged Yuyake Take Out here.

    Google Yuyake image.

    Happy Together

    Thursday, September 7th, 2006

    The question always floats around as to whether Happy Together would have been a ‘better’ film with the Shirley Kwan sequence in. There is no clear answer. (Long Reviews:Exiles, Escapees and Emigrés – a look at Buenos Aires Zero Degree (1997)

    Shirley Kwan
    Shirley Kwan Happy Together in Happy Together.

    We can view the deleted sequence of Shirley Kwan from Happy Together on youtube.

    (It has become our tradition to pay attention to deleted scenes from Wong Kar Wai films. See previous post here.)

    Love me or leave me, we (Max and Thomas) are happy and jubilant together.

    More great dance links from metafilter, here.

    Antonin Artaud

    Monday, September 4th, 2006

    (Marat played by Artaud from Abel Gance’s Napoleon.)

    It’s the birthday (Sept 4, 1896-1948) of Antonin Artuad,
    Actor, director, writer, artist, founder of the “theatre of cruelty”.

    Patti Smith and Artaud page.

    A visionary and a mystic. He saw the theatre as a ritual able to give rise to a numinous experience within the spectator.

    To Have Done with the Judgement of God, a radio play by Antonin Artaud

    And war is wonderful, isn’t it?
    For it’s war, isn’t it, that the Americans have been preparing for
    and are preparing for this way step by step.
    In order to defend this senseless manufacture from all competition
    that could not fail to arise on all sides,
    one must have soldiers, armies, airplanes, battleships,
    hence this sperm
    which it seems the governments of America have had the effrontery
    to think of.

    In Carl Theodor Dreyer’s The Passion of Joan of Arc, Artaud acted as the monk Jean Massieu.

    Vivre Sa Vie

    Godard perfectly uses “The Passion of Jeanne D’Arc in Vivre Sa Vie.

    Derrida and Artaud

    Derrida emphasized the
    performative aspect of the work, stating
    that “All of Artaud’s works participate in
    an urge to DO something not just EXPRESS
    something.” They “produce an event in the
    act of writing and drawing … they are
    events directed at an addressee.” Instead
    of projecting a “French” sensibility
    they, evoke an “immediately universal glosso-
    poetics.” Thus countering the reductive
    view that Artaud’s works are signs of
    pathology, Derrida asserted that they are
    “not only lucid–they illuminate us on what
    it means to be dispossessed.”

    Derrida’s The Secret Art of Antonin Artaud

    The Minotaur 1946Antonin Artaud drawing graphite and wax crayon by Antonin Artaud

    A New Scène Seen Anew:Representation and Cruelty in Derrida’s Artaud
    by Colin Russell

    Glossopoeia, which is neither an imitative language nor a creation of names, takes us back to the borderline of the moment when the word has not yet been born, when articulation is no longer a shout but not yet discourse, when repetition is almost impossible, and along with it, language in general: the separation of concept and sound, of signified and signifier, of the pneumatical and the grammatical, the freedom of translation and tradition, the movement of interpretation, the difference between the soul and the body, the master and the slave, God and man, author and actor. This is the eve of the origin of languages, and of the dialogue between theology and humanism whose inextinguishable reoccurence has never not been maintained by the metaphysics of Western theater. (Derrida 240)