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

***

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

***

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.

the hill, the city, the past

Les yeux ne veulent pas en tout temps se fermer, ou Peut-être qu'un jour Rome se permettra de choisir à son tour
{The Eyes do not Want to be Closed at all times, or Possibly Rome will permit herself to choose in her turn}
{Othon}
(Danièle Huillet and Jean-Marie Straub, 1969/1970)

Each work of art is not an act of resistance and yet, in a certain sense, it is.

"What is the relation between the work of art and communication?

None whatsoever. The work of art is not an instrument of communication. The work of art has nothing to do with communication. The work of art strictly does not contain the least bit of information. To the contrary, there is a fundamental affinity between the work of art and the act of resistance. There, yes. It has something to do with information and communication as acts of resistance. What is this mysterious relation between a work of art and an act of resistance when men who resist have neither the time nor sometimes the necessary culture to have the least relation to art? I don't know. Andre Malraux develops a beautiful philosophical concept; he says something very simple about art; he says it is the only thing that resist death. Let's return to where we began: What does one do when one does philosophy? One invents concepts. I think this is the basis of a beautiful philosophical concept. Think -- What resists death? One need only see a statuette from three thousand years before our time to find that Malraux's response is a rather good one. From our point of view, we could then say, rather less elegantly, that art is what resists even if it is not the only thing that resists. Where does such a close relation between the act of resistance and the work of art come from? Each act of resistance is not a work of art while, in a certain sense, it is all the same. Each work of art is not an act of resistance and yet, in a certain sense, it is."

- Having an Idea in Cinema (On the Cinema of Straub-Huillet), Gilles Deleuze

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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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)

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

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.

Landscapes of Resistance

Here's the full text of Barton Byg's Landscapes of Resistance: The German Films of Danièle Huillet and Jean-Marie Straub.