Archive for the 'en-dehors' Category

08
Juin
09

carnet de tournage

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FACS OF LIFE  (a film by Silvia Maglioni & Graeme Thomson), FR/IT/UK 2009, HDV, 116′

Composed of eight interlinked plateaus, Facs of Life is a film occupying a liminal territory between documentary, fiction, essay and video art, which attempts to map molecular trajectories of life and thought beginning from a series of encounters: with video footage of Deleuze’s courses at Vincennes (1975-76), with several of the students who attended the seminar and who appear in these images, with the woods of Vincennes where the university buildings once stood, with students of the new university at St Denis, and inevitably with the phantoms of revolution, both cinematic and political, that continue to haunt collective desire.
The eight plateaus each fall under a key concept-word or refrain that delineates the territory of each student’s relationship to Deleuze’s thought (their angle of approach) and the nature of the filmmakers’ encounter with them. The plateaus, while sketching a narrative of the film’s making, are designed to fold and unfold upon each other in a series of non-linear, multiple concatenations and assemblages.

FACS OF LIFE TRAILER : VIEW >

DOWNLOAD (VOD) Facs of Life at DOCALLIANCE FILMS

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WORLD PREMIERE / OFFICIAL SELECTION INTERNATIONAL COMPETITION FID-Marseille 2009

CONTACT : lesfacsoflife@gmail.com

06
Fév
09

I went to the woods… (plan fixe/steadicam)

bois-still

« I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. »

Thoreau, WALDEN

06
Fév
09

in praise off (voice hypothesis)

eloge-de-lamour

Moi, j’étais là

La memoire

sans moi
Moi

J’étais
projeté
protegé

des projets
rejetés
jetés
dans la poubelle
de l’histoire

la plus belle histoire

01
Fév
09

facs of life : a user’s manual

Thus a concrete programme was designed, which can be stated succinctly as follows. For ten years, from 1925 to 1935, Bartlebooth would acquire the art of painting watercolours. For twenty years, from 1935 to 1955, he would travel the world, painting, at a rate of one watercolour each fortnight, five hundred seascapes of identical format (royal, 65 cm x 50 cm) depicting seaports. When each view was done, he would dispatch it to a specialist craftsman (Gaspar Winckler), who would glue it to a thin wooden backing board and cut it into a jigsaw puzzle of seven hundred and fifty pieces.

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For twenty years, from 1955 to 975, Bartlebooth, on his return to France, would reassemble the jigsaw puzzles in order, at a rate, once again, of one puzzle a fortnight. As each puzzle was finished, the seascape would be « retexturised » so that it could be removed from its backing, returned to the place where it had been painted – twenty years before – and dipped in a detergent solution whence would emerge a clean and unmarked sheet of Whitman paper. Thus no trace would remain of an operation which would have been, throughout a period of fifty years, the sole motivation and unique activity of the author.

(Georges Perec)

24
Jan
09

I am this I am that

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mrs-dalloway1

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05
Nov
08

brûler les films, mais avec le feu interieur…

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Paris 8 – St. Denis

4 novembre 2008

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History of Organic Matter. What is fire ? Well, as we know, it is a very rapid oxidation and we know very well that oxidation is death. Fire, the anima, puffs of warm breath, this sign of life is also the most rapid path toward death. But inversely the life, the death (of organisms), is an oxidation that is very slow, a very banked fire. So, for example, in autumn we see yellow leaves grow red, then fall. And what comes of this in the end? The universal ash tray, the earth, (remains of the three kingdoms).

But on the other hand, at a certain season when the sun returns, the water tends to evaporate, this water which reimpregnates the universal ashtray,wishes to die in turn through the effect of the heat that rises again, it gives up, it evaporates, but then it draws along with it, toward the sky, those organic remains, it revives the universal ashtray, the grass and life surge up again and there is the pré. Grass, then, expresses the universal resurrection under the most elementary form.

(Francis Ponge)

26
Oct
08

de quoi avons-nous besoin?

UFCLA

D’UN FILM COMME LES AUTRES…

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UFCLA3




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