Ci-dessous, les différences entre deux révisions de la page.
| Les deux révisions précédentes Révision précédente Prochaine révision | Révision précédente Prochaine révision Les deux révisions suivantes | ||
|
le_carnet_de_l_editeur [2016/02/11 15:05] annick [Février 2015] |
le_carnet_de_l_editeur [2016/02/11 15:11] annick [Mars 2015] |
||
|---|---|---|---|
| Ligne 624: | Ligne 624: | ||
| On a final note, the claim that the Armenian filmmaker Artavazd Pelechian’s views on montage were of major importance for Godard’s practice receives additional confirmation, if not in Adieu itself, then in the press-kit for the film disseminated at Cannes, which was composed by Godard himself and which, with its elaborate layout of stills from the film, may be considered a work of art in its own right. Page 22 of the press-kit is consumed by a photocopied leaf from Annick Bouleau’s Benjaminian work PASSAGE DU CINEMA,4992. Over the top of this text, Godard has scrawled the words “The only book to recount the history of the cinema” – an approbation of the highest order. Also pasted into this collage is entry 6601 from Bouleau’s tome, which states: “Distance montage would be a chain reaction. But there is something in distance montage which goes beyond an atomic explosion; namely, retroaction, the feedback effect which loops the sequence or the film back onto itself. Flux and reflux. [...] The culminating moment may be the beginning, montage may obey none of the established laws of narrative progression. It is a question of circularity.”[9] The quote is derived from an interview with Pelechian by François Niney, which appeared in Cahiers du cinéma in 1991. In light of Adieu au langage, the importance of his ideas for Godard is indisputable.</note> | On a final note, the claim that the Armenian filmmaker Artavazd Pelechian’s views on montage were of major importance for Godard’s practice receives additional confirmation, if not in Adieu itself, then in the press-kit for the film disseminated at Cannes, which was composed by Godard himself and which, with its elaborate layout of stills from the film, may be considered a work of art in its own right. Page 22 of the press-kit is consumed by a photocopied leaf from Annick Bouleau’s Benjaminian work PASSAGE DU CINEMA,4992. Over the top of this text, Godard has scrawled the words “The only book to recount the history of the cinema” – an approbation of the highest order. Also pasted into this collage is entry 6601 from Bouleau’s tome, which states: “Distance montage would be a chain reaction. But there is something in distance montage which goes beyond an atomic explosion; namely, retroaction, the feedback effect which loops the sequence or the film back onto itself. Flux and reflux. [...] The culminating moment may be the beginning, montage may obey none of the established laws of narrative progression. It is a question of circularity.”[9] The quote is derived from an interview with Pelechian by François Niney, which appeared in Cahiers du cinéma in 1991. In light of Adieu au langage, the importance of his ideas for Godard is indisputable.</note> | ||
| + | ==== Mars 2015 ==== | ||
| + | === 7 mars 2015 === | ||
| + | <note wiki>L'INSTANT DU CLICHÉ/LA BEAUTÉ DU GESTE\\ | ||
| + | Les [[https://www.flickr.com/photos/paulav/sets/72157637026631263/|photos]] de Paula Velez</note> | ||
| - | + | {{::editeur_20150307fb419p.jpg?direct|}} | |
| + | |||
| + | |||
| + | |||
| + | |||
| + | |||
| + | |||