Fair Use (1)

Folsom v. Marsh 9 F.Cas. 342 (C.C.D. Mass. 1841) (pdf):

"...no one can doubt that a reviewer may fairly cite largely from the original work, if his design be really and truly to use the passages for the purposes of fair and reasonable criticism."

Copyright Act of 1976, 17 U.S.C. § 107:

"Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include—
(1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
(2) the nature of the copyrighted work;
(3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
(4) the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors."

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)

Le Tourbillon

from Jules et Jim



via

Television Delivers People

Television Delivers People, Richard Serra and Carlotta Fay Schoolman, 1973

More on Amália

Inspired by my recent post on saudade and fado, here are some clips of the incomparable Amália Rodrigues.


First, 2 clips from the 1948 film Fado, História d'uma Cantadeira, directed by Perdigão Queiroga and starring Amália Rodrigues as a fado singer torn between love and fame.






Singing "Povo Que Lavas No Rio" in 1961:


A performance of "Lisboa Antiga" from 1969:

The Seashell and the Clergyman (Germaine Dulac, 1928)

From a scenario by Antonin Artaud, Germaine Dulac's masterpiece and the world's first surrealist film (and don't let Buñuel tell you otherwise).



Or, watch it bigger here.

Experiencing and Creating the Universe: Avant-garde video and the examination of the self

Program Yourself



Stan Brakhage - The Garden of Earthly Delights



Stan Brakhage - The Dante Quartet