Ewa Partum - Tautological Cinema, 1973
Photoset with 412 notes
Stills from Tautological Cinema by Ewa Partum, 1973-1974
Tautological Cinema is a series of short films made in the paradigm of structural cinema – the movement of the late 1960s which focused on the examination of material factors of a film. Looking into a film as a medium Ewa Patrum concentrates on the notion of automatisation of a film message and the structure of its language. “It’s not dealing with aesthetics” claims the author. “It’s rather a new sort of philosophical practice that operates in the area in which the relation between the film image and the camerawork covers the whole interest in the film itself”. In artistic practice, such ideas can, for instance, take a form of an analysis of how film tape makes its way through a projector, as in the film 10 Metres of Film Tape. A work which stands out is Film by Ewa, which examines different ways of artistic communication and states that the indirect passing of ideas is not possible. “Covering, in turn, her mouth, eyes, ears (meant to manifest that an idea within an artist is not transferable) Ewa Patrum formulates an opinion which is to show the alienation of an author who, creating the art of meaning, cannot fully express the intentional idea. Once it gets materialized against an art medium or gets into the area of someone else’s experience it is distorted and distanced from the original meaning” argues Łukasz Ronduda.
Japanese poster for Lost Highway (David Lynch, 1997)
Photoset with 191 notes
From Sean Young's collection of polaroids taken during the production of Blade Runner
I wouldn’t know what to do with [color]. Color to me is too real. It’s limiting. The more you throw black into a color, the more dreamy it gets… Black has depth. It’s like a little egress; you can go into it, and because it keeps on continuing to be dark, the mind kicks in, and a lot of things that are going on in there become manifest. And you start seeing what you’re afraid of. You start seeing what you love, and it becomes like a dream.
David Lynch, Lynch on Lynch
Photo with 150 notes
Femi Benussi and Rita Calderoni in Questa libertà di avere… le ali bagnate (Alessandro Santini, 1971)
From L’alphabet des Lesbiennes, special edition of Playfilm, undated (early 1970s)
Lou Reed - This Magic Moment (from Lost Highway soundtrack)
Cronenberg’s Troupe of Actors for CRASH at the Cannes Film Festival
Photo by Helmut Newton
Photo with 102 notes
Still from The Deadman by Peggy Ahwesh, 1989 (Based on Le Mort by Georges Bataille, the story of Marie and her last night of extremes)
Usually people read the lesson of Freudian psychoanalysis as if the secret meaning of everything is sexuality. But this is not what Freud wants to say. I think Freud wants to say the exact opposite. It is not that everything is a metaphor for sexuality. That whatever we are doing we are always thinking about that [sex]. The Freudian question is: what are we thinking when we are doing that? If I am a little bit impertinent by relating to something which most of us experience [….] It happens while one is engaged in sexual activity. All of a sudden one feels stupid. One looses contact with it, as if “My god what am I doing here? Doing this stupid repetitive movement?” [….] Nothing changes in reality in these strange movements when it is, as it were, disconnect. It is just that I loose the phantasmatic [fantasy] support. In sexuality it is never me and my partner(s) [….] There always has to be some phantasmatic element. There has to be a third element that enables me to engage in sexuality. There has to be an irresistible power or fascination. [….] The question is [….] why does our libido, pleasure, need the virtual universe of fantasy? Why can’t we simply enjoy it directly?
I like to remember things my own way. How I remembered them, not necessarily the way they happened.
David Lynch, Lost Highway
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