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.
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 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   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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