Plaque commemorating three Levellers shot by Oliver Cromwell in Burford
(Kaihsu Tai, 17 May 2008)

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Profit motive and the whispering wind
(John Gianvito, 2007)

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Toute révolution est un coup de dés
(Danièle Huillet et Jean-Marie Straub, 1977)

Grievances / Social Systems (Part 2)

Matthew Flanagan's contribution to The Daily Notebook's year-end feature, featuring a picture from London's Day X3 protests (December 9, 2010) against the rises in tuition fees:

NEW: Film socialisme (Jean-Luc Godard, Switzerland)
OLD: History Lessons (Jean-Marie Straub & Danièle Huillet, 1972)

WHY:

The Democratic organisations, on which he could still have leaned in the Autumn, were in ruins. The City had betrayed the little man according to all the rules of the art, except the one that prescribes that the victim shall not notice anything.
— the banker Mummlius Spicer, from Brecht’s The Business Affairs of Mr. Julius Caesar.

To show, above all. To show the possible. That's all.
— JLG

Not so much a fantasy double bill as two films, and three filmmakers, that meant a lot to me this year. Looking back, it seems the year’s great films about the political and spatial decay of the present — Patrick Keiller’s Robinson in Ruins, Thom Andersen’s Get Out of the Car — could only be paired with films by Jean-Marie Straub and Danièle Huillet. I’ve clung to these two for their clarity, their abstractions, and their hope.

Romance

JMS: When we met in 1954, I was attending the Lycee Voltaire, but only for eight days.
DH: Three weeks.
JMS: Was I? Well, three weeks. Then I left…
DH: You didn’t. You were told it would be better to leave…
JMS: I was kicked out. I was even told why. I knew too much about Hitchcock and that disturbed the class. I was watching her from a distance. We weren’t sitting that close to each other. I didn’t know her. I was just watching her. And every time she uttered something, the others would ask me - why me? - what she’d said. I had to translate. It was taken for granted that I understood.
DH: And did you understand?
JMS: Ah! That’s a mystery! One will never know. They must have noticed that I had fallen madly in love at first sight, and so they thought: he must understand what she says.

- Jean-Marie Straub and Danièle Huillet, in Où gît votre sourire enfoui? / Where Does Your Hidden Smile Lie? (Pedro Costa, 2001)

via Kevin Lee's lovely essay on the film


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Class Relations, the film

my piece on Jean-Marie Straub and Danièle Huillet’s Klassenverhältnisse (Class Relations) is up at The Auteurs' Notebook.

The Brechtian Aspect of Hölderlin-derived Radical Cinema, Part 1

Clips from 2 films by Straub and Huillet adapted from Hölderlin's adaptations of classical works/themes:


Der Tod Des Empedokles





Antigone






(pity about the promotional bits at the end)

Four Theses on Contemporary Art

12. Non-imperial art must be as rigorous as a mathematical demonstration, as surprising as an ambush in the night, and as elevated as a star.

13. Today art can only be made from the starting point of that which, as far as Empire is concerned, doesn't exist. Through its abstraction, art renders this inexistence visible. This is what governs the formal principle of every art : the effort to render visible to everyone that which for Empire (and so by extension for everyone, though from a different point of view), doesn't exist.

14. Since it is sure of its ability to control the entire domain of the visible and the audible via the laws governing commercial circulation and democratic communication, Empire no longer censures anything. All art, and all thought, is ruined when we accept this permission to consume, to communicate and to enjoy. We should become the pitiless censors of ourselves.

15. It is better to do nothing than to contribute to the invention of formal ways of rendering visible that which Empire already recognizes as existent.

- from Alain Badiou's Fifteen Theses on Contemporary Art. Longer excerpt here