THE PARALLEL ATEMPT – EXPERIMENTAL CINEMA FROM ITALY
Tijekom tri večernja termina petkom za listopad smo vam pripremili reprezentativne retrospekcije klasika talijanske eksperimentalne kinematografije Paola Giolia, Pieroa Bargellinia i Francoa Piavolia. Prvobitna nakana nam je bila prezentirati nešto slobodniju trasu talijanske filmske avangarde, te smo se trudili uz pomoć Maura Santinia dobaviti rane radove Albertoa Griffia, pridružti im univerzalno sukladne lirske doku-eksperimente Francoa Piavolia, te ovaj prigodni trotjedni ciklus zaključiti recentim uradcima u odabiru samog Maura Santinia. Kako je došlo do poteškoća prilikom potrage za digitalnim kopijama, program je reorijentiran prema stabilnijoj, konkretnijoj akademskoj materiji u režiji Paola Giolia, potom alternativnom (8mm) isječku iz opusa Francoa Piavolia, te donekle marginalnim sineatskim eksperimentima nepravedno zanemarenog talijanskog “underground” redatelja Pieroa Bargellinia. Nadamo se kako čemo za iduću sezonu doći u posjed pethodno dogovaranih kopija, te ovim putem najavljujemo i drugi segment “The Parallel Atempt – Experimental Cinema fom Italy” ciklusa.
Paolo Gioli (Sarzano di Rovigo; 1942) filmski je autor kojega internacionalna publika doživljava kao jednu od ključnih osobenosti talijanske “sottosuolo” produkcije. Pokazujući permanentni interes za predrazvoj filmskog medija i formalističko tumačenje odnosa pokretnih slika, zvuka, slikarstva, fotografije i montažnih niveliranja proizveo je impresivan opus od 35 dotjeranih radova od kojih ćemo ovom prilikom tijekom autorske prezentacije u Kino klubu Split prikazati odabir od četiri katka i jednog srednjeg metra koje je sam autor za potrebe službeno osobno odobrenog DVD izdanja “The Coplete Filmworks” (https://www.rarovideo.com/prodotto/tutto-il-cinema-di-paolo-gioli/) objedinio pod zajedničkim nazivom “Homages”. Kao “destuktor” čiste filmske materije, ali pored toga i vrsni inovator/improvizator u kontekstu montažnih tehnika, Paolo Gioli filmom se počeo baviti početkom sedamdesetih godina prošlog stoljeća nakon što je stekao titulu majstora fotografije i savladao temeljne slikarrske tehnike. Zahvaljujući činjenici što se intelektualno nametnuo kao vrsni instrumentalist i lingvističar filma nametnuo je eksperimentalno-filmskoj publici osobni “vizualni laboratorij”, te patentirao tehnike i procedure temeljem kojih se uspio ogaditi od koncepta neposredne banalne filmske proizvodnje i samog medija kao takvog, te impresivni korpus vlastitih tehničkih znanja i vještina uključiti u reciklažno-derivatnu proizvodnju alternativnih dimenzija spoznaje utemeljene na sineatskom eksperimentu kojem je u prvom planu koordiniranje efekta odgođenog sinkroniciteta uz pomoć uspostavljanja ravnoteže. Konzistentnost i raspoznatljivost njegovih radova iz svih perioda karijere upravo je fantastična uzme li se u obzir kako je na eksperimentalnoj talijanskoj filmskoj “sceni” prisutan već preko 45 godina. Temeljito je demonstrirao neke od osnovnih tehnika filmske proizvodnje kao što su stop animacija, pinhole camera i photo finish, te pomoću njih doprinio boljem i adekvatnijem razumijevanju fenomena svjetla, vizije i pokreta u sineatskoj proizvodnji. U produžetku teksta donosimo (na engleskom jeziku) izvadak iz intervjua koji je s Paolom Gioliem vodila talijanska uednica i spisateljica Caludia D`Alonzo za potrebe digitalne online publikacije “Digimag Journal”:
Claudia D’Alonzo: When did you begin to understand that the modalities of production and perception of cinema imposed by standardized production where too strict for you?
Paolo Gioli: I realised this through something that may seem banal but which was decisive: when I realised that I could not immediately control what I had just shot. If someone does research on images he must be able to immediately see the shots. Reading the history of cinema, I read the things that everyone had read but that evidently no other auteur had ever taken into consideration. I asked myself: how did the first people who made films develop them? At the time there was no laboratory: Meliés, Lumière, Edison did not go to a laboratory, they were their own laboratory. Cinema was created through them and they had found a way to develop their own things by themselves. And reading French texts on the history of cinema I found what I imagined to find. At the beginning there were bits that they threw into some development liquid and developed them like that, like a bowl of spaghetti, just to verify whether the material developed or not. Then they thought of building a can in which they rolled the film, they left it there soaking in a bucket, they waited 6 or 7 minutes, just as if they were developing film. Then they put it in water to wash it, they unravelled it and hung it out to dry. After having read these things I began to do the same.
Claudia D’Alonzo: So what interested you was controlling the development phase and print phase?
Paolo Gioli: Development is one thing. In development you see what you have done. When you have a negative you’re alright, you edit the negative and as you go you accumulate 6 or 7 metres , you realise that everything changes. Everyone said to me: but cinema film is different, it’s not like photographic film, it’s different. I didn’t believe them, so I bought some film, and I developed it as if it were any old photo film and I saw it was the same thing. Everyone was so obsessed with technicality… they all felt these technical barriers, complicated stuff full of secrets: it’s so stupid. Film is film. In other words I had to do it myself and not listen to what other people said. Then I realised that I could make a film from morning to evening! I would shoot a piece, if I liked it I would edit it, piece by piece, and so forth. Once I had finished I would print everything in a laboratory. I printed some pieces myself, I would make the positive with an old camera, I used it like Lumière did, he used the camera to shoot and print: you put the new film in contact with the developed negative, you shoot a white light, for example from a wall, and you impress the positive film. Which is what happens in the laboratory, the printer does exactly that. From then on I began working autonomously, even on duration. This notion that a film must last an hour and a half, derives from focus group tests on audiences, they noticed that spectators have had enough after two hours. This notion of an hour and a half created itself, it’s an old story. But this is true for commercials too: if they are bad those two minutes are unbearable, if they’re good you never want them to end.
Claudia D’Alonzo: You lived in two important contexts for the whole experimental cinema scene, New York at the end of the Sixties and Rome during the second have of the following decade… Paolo Gioli: I wasn’t making movies when I was in New York . At that time I was mostly drawing. I followed the circuit of little cinemas that showed these “forbidden” films, underground films. But from there I understood a lot of things. For example, wandering around the bay of New York at night, in quite dangerous places, by chance I saw a little cinema with a line of people outside. A lot of the people waiting in line were holding these little boxes in their hands, I just thought they were strange spectators. I sneaked inside too. I found out that those spectators were really auteurs and that the boxes where boxes of Super8 film. You didn’t know what was going to come out of it, the people in line gave their films to the projectionist. At a certain point the police ruptured into the cinema, everyone out, turn everything off, identify everyone present. I had a tourist visa and was terrified.
Claudia D’Alonzo: So even in America there was not all this freedom that people imagine. When you read about that era it seems as though things were so simple, very free and shared, even in the management of spaces created in the most unthinkable places…
Paolo Gioli: No, all of Mekas’s exhibitions were very organised, official. But then there were as many autonomous places, pontoons and barges where you could sleep too. There were film slide projections, mostly in Super8. Most of these were psychedelic films that implied the use of various substances during the course of the evening. I never used anything like that but all the possible substances available at the time were shared right in front of me.
L`Assasino Nudo (1984; 16mm c/b) 42:22
Finestra Davanti a un Albero (1989; 16 mm c/b) 12:21
Metamorfosso (1991; 16 mm c/b) 12:41
Immagini Travolte dalla Ruota di Duchamp (1994; 16 mm c/b) 12:12
Rothkofilm (2008; 16 mm kol) 05:02
UKUPNO TRAJANJE PROGRAMA: 84:38 minuta
U sklopu predprograma Short(s) Petting kojem je ovo četvrto izdanje prikazati ćemo (s početkom u 19:15, te kao i do sada u suradnji s web-oriented grupom AGITATE:21C) šezdesetominutnu set listu recentnijih kratkih eksperimentalnih radova autora sa svih strana svijeta, a naš odabir ovom prigodom izgleda ovako:
Roberta Weissman Nagy & & Christian Pinzan – Space With No Surface (2018; HR) 03:58
Emma Dark – Purgatoric (2018; USA) 04:05
Ian Gibbins – Birds of Öland (2019; Australia) 06:43
Jon Jost – Requiem (2019; USA) 13:34
Kunal Biswas – Hope Never Dies (2019; India) 01:00
Kunal Biswas – Undercurrent (2019; India) 01:00
Martin Del Carpio – Auricular Confession (2019; USA) 11:01
Sylvia Toy St. Louis – Dermalian (Secret Life Of Verne) (2019; USA) 09:05
Gabriel Santorufo – Breathe (for Alto Tambellini) (2019; Argentina) 07:50
UKUPNO TRAJANJE PROGRAMA: 58:16 minuta
Tonči Bakotin – M(ocean) (2018; HR; Kino klub Split) 08:48
Za Kino klub Split: