For photogénie, I trace a continuity between how Godard represented other filmmakers in his films, and how he controlled the way his own image (and sound and text) was (re)presented in films of other directors. This continuity comes in the form of his dialectical philosophy of cinema, or what he refers to as "langage."
Read the text here: Godard As Presence - A Ghost Obituary.
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See You Friday, Robinson 2022
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Antigone 1992
«هشدار برشت در باب خطرات غیرقابل تصور جنگ‌های آینده، حالا (سال ۲۰۲۲) به یک پیش‌گویی می‌ماند: ۱۰سال پس از ساخت آنتیگونه، سیاستمدار-سرمایه‌داران کنگرۀ آمریکا در «کپیتال هیل»، به بهانه‌ای ساختگی رای به جنگی دادند که دهه‌ها طول کشید و تبعاتش همچنان ادامه دارد. فیلمی که در ظاهر اقتباسی ساده از نمایشنامه‌ای قدیمی به نظر می‌رسید، نه تنها نمای بلند پیچیده‌ای است از تاریخ، بلکه نگاهی تیزبین است به آینده.»
با کمک از مفهوم پالیمسست، درباره ی جایگاه تاریخ و حافظه در چند فیلم استروب و اوییه نوشتم
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I Shot Jesse James 1949
"I'm going to be a performer. Every night I'm going to show folks how I killed Jesse James."
"I can't stomach you using Jesse's ghost."
"Look I ain't much good with words but it seems to me that real honest love is like ghosts which everybody hears about but few see.
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Sans Soleil 1983
Not only one of the most beautiful films, but also one of the greatest sustained poems.
Like almost all other great films, it's a film about ghosts. Ghosts of cinema and history. Ghostly imagery and images of ghosts.
Probably the closest any man-made object has come to capturing all the beauty of humanity within it at once.
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Trouble in Paradise 1932
This was made in 1932 for general audiences. What happened? when was America so sophisticated? and how could we have gone so far in the other direction?
Peter Bogdanovich
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Léon Morin, Priest 1961
Emmanuelle Riva as a bisexual commie atheist and Blemondo as a sexy intellectual priest in a film by Jean-Pierre Melville?
OUI S’IL VOUS PLAÎT
