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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to reflect concretely on a limited amount of work

"It’s not important to know then all, but just to know a few well. You don't need to know all the museum when you go to a museum, but only a few paintings. In my case, in fact, for example, I know three paintings by Cezanne very well. It didn't do me any good at all to the museum all the time, but to reflect concretely on a limited amount of work. That’s culture, as they say. It does not consist of having it all, but in having reflected concretely on a few things."
- Jean-Marie Straub

"The fault I find with our journalism is that it forces us to take an interest in some fresh triviality or other every day, whereas only three or four books in a lifetime give us anything that is of real importance."
- Swann’s Way, Marcel Proust

"Comme l’on serait savant si l’on connaissait bien seulement cinq á six livres!"
("How wise one might be if one knew only some half-dozen books well!")
- Gustave Flaubert, in a letter to his mistress Louise Colet, 17 February 1853

(the full paragraph: "Tantôt j’ai fait un peu de grec et de latin, mais pas raide. Je vais reprendre, pour mes lectures du soir, les Morales de Plutarque. C’est une mine d’érudition et de pensées intarissable. Comme l’on serait savant, si l’on connaissait bien seulement cinq á six livres!")

inspired by a debate with Miguel Marías (here).
(some information gleaned/confirmed here)

You have to see things clearly: the struggle between the idea and the matter

“The form of the body gives birth to the soul. I’ve said that a hundred times. …When someone says, ‘Yes, the form, it’s the form, the form, never mind the idea’, that is a sell-out. It’s not true. You have to see things clearly: First, there is the idea, then there is the matter, and then the form. And there is nothing you can do about that. Nobody can change that! …And through this work, the struggle between the idea and the matter, and the struggle with the matter, gives rise to the form. And the rest is just filling material. …The same goes for the sculptor. He has his idea and gets a block of marble and he works the matter. He has to take into account the nervures in the marble, the cracks, all the geological layers in it. He just can’t do whatever he wants.”
- Jean-Marie Straub, in Where Does Your Hidden Smile Lie?

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)

having thought concretely about certain things

via an old post at Dias Felizes, a Jean-Marie Straub quote translated into Portuguese, which I've translated back below:

"Não digo que seja necessário ter visto todos filmes da história do cinema. Mas é preciso ter visto pelo menos três ou quatro coisas importantes, e pelo menos tê-las visto bem. Aprendi algo ao refletir sobre um corpo de trabalho específico. Cultura não consiste em ter tudo mas em ter pensado concretamente sobre algumas coisas."

"I'm not saying that it's necessary to see all the films in the history of cinema. But it is necessary to have seen at least 3 or 4 important things, and at least have seen them well. I learned something upon reflecting about a body of specific work. Culture does not consist in having everything but in having thought concretely about certain things."

Not lost in translation too much, I think.