Entretiens C3 - Jean-Marie Straub, Danièle Huillet & Thierry Jousse - Entretiens (Vinyl, LP)

That it coincides with a complete retrospective of their works at the Museum of Modern Art makes the present moment all the more momentous. Viewing a Straub-Huillet film can be a daunting procedure, and this exhibition, accessible without being oversimplified, precise without being overly precious, lessens the intellectual burden, and provides an alternative conduit to think about their works. Across the other walls is a long row of original stills from the short, showing each of the reciters sitting resplendently on the grass.

Abreu chuckles when the question of interpretation was brought up. In addition to being fastidious with the framing of an image, they are no less meticulous with a film's soundtrack. One wall devotes seventeen pages from the voiceover script to A Visit to the Louvre Indeed, the first work that greets visitors is a creased original poster for their Elio Vittorini adaptation, Workers, Peasants.

They have an utmost respect for preexisting things. The prospect of creating an experience that is at once faithful and supplemental to the original films and also wholly autonomous is a daunting measure, but one that the organizers were keen on tackling.

The print itself is heavily scratched and bathed in a pinkish hue. This is a minor grouse, though. From the Clouds to the Resistance [1] and Sicilia! Straub, who was born in Metzmet Paris-born Huillet as a student in Straub was involved in the Parisian cinephile community at the time. The pair later Entretiens C3 - Jean-Marie Straub to Germany so that Straub could avoid military service in Algeria.

Straub spent his first few years researching Bach. Huillet had initially planned to make ethnographic films but eventually assisted Straub on his projects. They did not make a full-length feature until 's Chronicle of Anna Magdalena Bachafter which they made films at a fairly even rate, completing LP) feature every 2—3 years.

The production of the Chronicle of Anna Magdalena Bach was very tedious. The struggle for funding lasted for ten years, until Inthey also made Danièle Huillet & Thierry Jousse - Entretiens (Vinyl short film starring Rainer Werner Fassbinder and his theatre troupe called The Bridegroom, the Actress and the Pimp.

Increasingly, they began splitting their time between Germany and Italy, as well as frequently collaborating with French and British producers. Straub and Huillet lived together for most of their lives. They had no children. Huillet died of cancer in Cholet on 9 Octoberaged All of the films of Straub and Huillet are based on other works: novels, operas, plays, and less conventional source materials, such as political writings.

Bach ; and other films, including Rossellini's Europa ' Since their first films Machorka-Muff and Not reconciled were made in Germany, Huillet and Straub were at the time included in the New German Filmwhich was loudly announced in the Oberhausen Manifesto.

It seems more naked and more serious because now with the last camera movement of the film it always points away from itself to Germany. At the Oberhausen Short Film Festival in and the Berlin International Film Festival inthe first two films were rejected by the selection juries and only shown in special events.

With this film, which had little in common with other German films of its time, Huillet and Straub entered new stylistic and dramaturgical territory. The sensual center of the film, lacking in conventional film plot, is the music of Johann Sebastian Bach, which is presented here live in front of the camera and partly in original locations - an uncompromising and elaborate appreciation of music in films that Huillet and Straub in the later films Moses and Aron LP) From Today to Tomorrowboth based on operas by Arnold Schoenberg.

Aesthetically, they were particularly oriented towards the dramaturgical ideas of Bertolt Brechtfor example by saying that the actor should not play his role in an illusionistic way, but that he should identify his activity as what it is: quoting. You have therefore very often worked with amateur actors who put their natural dialects in place of perfectly standardized dialogues.

Nevertheless, their films are characterized by an unbelievable aesthetic rigor and formal rigor: every shot is precisely constructed, no cut is a concession to conventions. But Straub sees himself as a traditionalist and has often expressed his affinity for classic filmmakers such as Kenji Mizoguchi and John Ford. Due to his more extroverted nature, Jean-Marie Straub served as the public face of the couple: this has contributed to the widespread assumption that Huillet's role in their filmmaking process was secondary.

Preview Download Preview. A Play, A Film 2. Principles 3. Tradition and Opacity II. Huillet and Straub-style 'Objectivity' 2. Objectivities 3.

The Objectivists: A History 4. Danièle Huillet & Thierry Jousse - Entretiens (Vinyl Remains 4. A Poem, History 2. The Form of 'A'-9 3.

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A Poem, History 2. The Form of 'A'-9 3. Value and Meaning: Capitalism and Abstraction 4. Interruptions 4. Continuities 5. History Without a Name 6. Trials 2. On Space VII. The impact of their work comes in part from a search for radical objectivity, a theme present in certain underground currents of modernist art and theory in the writings of Benjamin and Adorno as well as in the "Objectivist" movement, a crucial group within American modernist poetry whose members included Louis Zukofsky, George Oppen, and Charles Danièle Huillet & Thierry Jousse - Entretiens (Vinyl, with connections to William Carlos Williams and Ezra Pound.

Order from Rest of the World. We use cookies to ensure that we give you the best experience on our website. Click here for more information. Accept Reject. Notebook Feature. A row of Italian anti-resistance villagers stand at a bar, peering over their shoulders at their more progressive-minded colleague sitting in a corner off-screen. Yet, against custom, Straub-Huillet spend no more than a scant, half-second on it, if that. While their headstrong political attitude and scrupulous interpretation of key texts of the western canon into cinema have spawned all sorts of critical brouhaha, such reception has often overshadowed their subtle, formal contributions to the medium.

Indeed, one could say that the couple have never pretended to do anything but work on the level of the shot. The beauty and rigor that Straub-Huillet have invested into constructing—framing—their idea of what constitutes the cinematic image are the very subject of a new exhibition at the Miguel Abreu Gallery in New York City. Production workbook for The Death of Empedocles That this is first U. The sensual center of the film, lacking in conventional film plot, is the music of Johann Sebastian Bach, which is presented here live in front of the camera and partly in original locations - an uncompromising and elaborate appreciation of music in films Entretiens C3 - Jean-Marie Straub Huillet and Straub in the later films Moses and Aron and From Today to Tomorrowboth based on operas by Arnold Schoenberg.

Aesthetically, they were particularly oriented towards the dramaturgical ideas of Bertolt Brechtfor example by saying that the actor should not play his role in an illusionistic way, but that he should identify his activity as what it is: quoting.

You have therefore very often worked with amateur actors who put their natural dialects in place of perfectly standardized dialogues. Nevertheless, their films are characterized by an unbelievable aesthetic rigor and formal rigor: every shot is precisely constructed, no cut is a concession to conventions.

But Straub sees himself as a traditionalist and has often expressed his affinity for classic filmmakers such as Kenji Mizoguchi and John Ford. Due to his more extroverted nature, Jean-Marie Straub served as the public face of the couple: this has contributed to the widespread assumption that Huillet's role in their filmmaking process was secondary.

What is special about the work of Huillet and Straub is the often decades-long continuity that they have with many of their employees. They realized most of their work with two cameramen: William Lubtchansky 9 films and Renato Berta 20 films to datewith whom Jean-Marie Straub still works today. The sound engineer Louis Hochet was responsible for the sound recordings for 15 of her films between andincluding the films Chronik der Anna Magdalena Bach[4] Moses and Aron and Von heute, which are determined by live recorded music auf Morgeneach of which broke new ground in integrating music into a film.

An equally formative connection existed with the Tuscan town of Buti, which was used primarily as a location for the films based on Cesare Pavese's dialogues with Leuko, as well as with the Teatro Francesco di Bartolo located there, whose ensemble has participated in a total of ten films. For their part, Straub and Huillet were more often the subject of films by others.

The couple's films also found a fan base in the US early on, thanks in large part to the support of arthouse cinema operator Dan Talbotfilm critics Jonathan Rosenbaum and J. Hoberman [6] [7] and curator Richard Roudwho was the long program director of the London and New York film festivals.

Despite some positive criticism, their films were and are often met with incomprehension. Especially in the first decades of Straub-Huillet's filmmaking, the accusation of amateurism was often raised against them from this side. A criticism based on the concept of continuity and the narrative conventions of classical cinema as a set of values finds numerous breaks in the Straub-Huillet cinema.

Another point of criticism is Entretiens C3 - Jean-Marie Straub alleged lack of emotion in their films. Lecture as well as gestures and facial expressions of the actors are LP), anti-dramatic and deliberately boring. The last joint-film by Straub and Huillet, Quei loro incontriwas part of the competition at the 63rd Venice Film Festival in At the festival, Straub and Huillet Entretiens C3 - Jean-Marie Straub awarded a special prize "for the invention of cinematic language in their entirety.

But at the award ceremony there was a scandal: Straub and Huillet were not present, instead the actress Giovanna Daddi read a statement written by Straub. It said that as long as there was American imperialist capitalism, there could never be enough terrorists in the world.

The statement caused protests at the festival and in the Italian press. The jury discussed withdrawing the award. Defenders of the Straub-Huillet's cinema point out that Straub's private, polemical statements should not influence the appreciation of the cinematic work.

From January through Septemberthe streaming service MUBI held the first digital Danièle Huillet & Thierry Jousse - Entretiens (Vinyl retrospective, showcasing new restorations of fifteen of their films, including Straub's final feature film Kommunisten.

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9 thoughts on “Entretiens C3 - Jean-Marie Straub, Danièle Huillet & Thierry Jousse - Entretiens (Vinyl, LP)

  1. des films et leurs sites L’association a pour but de faire connaître et d’aider à la diffusion de l’œuvre de Jean-Marie Straub et Danièle Huillet, d’actualiser et de faire circuler l’exposition «Jean-Marie Straub et Danièle Huillet, des films et leurs sites», de gérer sur internet le site du même nom à blueskyservices.biz et de publier la revue en ligne Leucothéa.

  2. Danièle Huillet and Jean-Marie Straub collaborated on films together from the mids through the mids, making formally radical adaptations in several languages of major works of European literature by authors including Franz Kafka, Bertolt Brecht, Friedrich Hölderlin, Pierre Corneille, Arnold Schoenberg, Cesare Pavese, and Elio Vittorini. The impact of their work .

  3. work of Danièle Huillet and Jean-Marie Straub. They were our guests in during a series of selected screenings and saw the London premiere of new works by Jean-Marie Straub at the Goethe-Institut London. There have been recent major retrospectives worldwide, including at MoMA, Centre Pompidou and Akademie der Künste Berlin.

  4. Apr 09,  · April 24 — June 19, Films by Jean-Marie Straub & Danièle Huillet, Megan Fraser and Redmond Entwistle. March 7 — March 19, Empedocles/Hölderlin, Cézanne/Gasquet, Straub/Huillet, Dominique Païni & Blake Rayne. two films, one text & paintings. March 12 — April 9,

  5. FIRST COMPLETE RETROSPECTIVE OF JEAN-MARIE STRAUB AND DANIÈLE HUILLET IN THE UK Press release MARCH FRI ICA pm Cinema 1 Season Opening L’arrotino [The Knife Sharpener], Italy/France, , 7 min. Von heute auf morgen [From Today Until Tomorrow], West Germany/France, , 62 min. pm Cinema 1 La Guerre d’Algérie [The Algerian .

  6. Parmi les films de Jean-Marie Straub et Danièle Huillet. Les yeux ne veulent pas en tout temps se fermer, ou peut-être qu’un jour Rome se permettra de choisir à son tour (Othon, ), photographié par Ugo Piccone et Renato Berta; Leçons d’histoire (), photographié par Renato Berta; Introduction à la musique d’accompagnement pour une scène de film d’Arnold .

  7. Baixo o título Jean-Marie Straub e Danièle blueskyservices.biz a revolución é volver poñer no seu sitio cousas moi antigas pero esquecidas terá lugar no Cinema NUMAX unha importantísima retrospectiva de dous autores esenciais para o cinema e o pensamento contemporáneos.A obra de Straub e Huillet esculca de maneira única na relación do cinema con outras disciplinas, .

  8. Oct 17,  · Danièle Huillet et Jean-Marie Straub ont établi le texte de la première version () et l'ont filmé. C'est devenu, chez eux, une sorte de .

  9. Jean-Marie Straub and Danièle Huillet were a duo of French filmmakers who made two dozen films between and Their films are noted for their rigorous, intellectually stimulating style and radical, communist politics. Though both were French, they worked mostly in Germany and Italy. From the Clouds to the Resistance and Sicilia! are among the duo's best regarded .

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