THE PARALLEL ATEMPT – EXPERIMENTAL CINEMA FROM ITALY
Tijekom prva 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. Paralelni pokušaj(i) uvriježeni je (kompromisni) naziv za prostorno disperzirnu talijansku eksperimentalnu filmsku “scenu”, te primarno referira na stilske similarnosti u sineatsko/sinematskom izričaju “ciljane” generacije autora, što predstavlja i temeljno akademsko (supra)teorijsko “vezivo” u slučaju potrebe za uspostavom naprednih konvencijskih sinteza. 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 2” ovog eksperimentalno-filmskog ciklusa. Predprogram recentnih eksperimentalnih filmova Short(s) Petting (powered by web-oriented group AGITATE:21C) ovoga puta donosi 7 pomno odabranih/niveliraih psihodeličnih “cine-revolucion” avant-eksperimenata bremenitih specifičnom socio-kulturnom intencionalnošću bez neposrednog real-političkog utemeljenja, a prikazujemo ih prije središnje projekcije u 20:30 s početkom u 19:15.
FRANCO PIAVOLI – EKOLOGIJA SVIJESTI I SINEATSKA ALKEMIJA INTIME
“It is wonderful to hear that your message, even if scent in a non-translatable language, reaches everyone`s ears.”
Veteran talijanskog eksperimentalnog filma Franco Piavoli (Pozzolengo, Lombardy; 1933) prvi put je u Kino klubu Split predstavljen u svibnju 2011. kada smo u sklopu autorskog ciklusa prezentirali njegove dugometražne filmove “Nostos: Il Ritorno” (1990), “Voci nel Tempo” (1996) i “Al Primo Soffio di Vento” (2002). Potom je, nekoliko godina kasnije, u sklopu programa godišnje revije kluba simbolički separirano prikazan njegov najpoznatiji projekt “Il Planeta Azzurro” (1982) zajedno s recentnijim uratkom “Frammenti” (2012), da bi ovom prilikom, kao treći i finalni gradivni segment prve edicije prigodnog ciklusa “The Parallel Atempt – Experimental Cinema fom Italy” na red za projiciranje u “našoj maloj filmskoj klinici” 🙂 dospijeli Piavolievi kratki 8mm filmovi s početka karijere objedinjeni pod nazivom “Poesie in 8mm”, te srednji metar naziva “Affettuosa presenza” (2004) koji predstavlja svojevrsni povratak velikog liričara eksperimentalne kinematografije svojim korijenima/početcima. Pariški festival “Cinéma du réel” 2016. posvetio je Piavoliu kompletnu kinematografsku retrospektivu, a iste je godine produciran i njegov najnoviji film u srednjoj kategoriji naslovljen “Festa” (2016) koji je premijerno prikazan na respektabilnom nezavisnom filmskom festivalu u Locarnu. Nadamo se kako ćemo vas tijekom ove sezone iznenaditi i splitskom promocijom tog Piavolievog za sada posljenjeg uradka. U produžetku teksta možete na engleskom izvorniku pročitati prekucani segment interviewa koji je s Piavoliem vodila talijanska filmologinja i publicistkinja Silvia Carlorosi za potrebe svoje sinematske studije “A Grammar of Cinepoiesis: Poetic Cameras of Italian Cinema” (2015) pevedene na engleski i objavljene u ediciji Lexington Box:
“Let`s start talking about poetry. What does poetry mean to you?
I always start from the word`s etimology. Poiesis means to create. When you live, write, make cinema, you want to reinvent nature. This is what children do when they use crayons or when they play: they reivent, re-live certain figures with their fantasy. Poetry for me means to use one`s fantasy, project one`s illusions with one`s own imagination. This can be done with words, with images and with sounds, which are all instruments of our organism and our psychological stucture.
And how would you define a poetry of cinema?
The poetry of cinema happens when one confides mainly in his/her own creative freedom, surfacing emotions, feelings, thoughts, and all the experiences, whether already had, being had in the moment, or projected to be had. I entrust all these to my primary senses: to my ears, touch, but also to all the mental fantasies that my brain goes on elaborating, or to those which have already been elaborated from reality and from my own relationships. Cinema is projection; therefore, it is a projection of sensations, feelings, ideas, concepts, and experiences on a mental and sentimental screen which will become a visual screen, where the first means of communication is sight. But it is not only sight, because everything else that the other senses have been able to captue depends on sight. All of this is then affixed on film with a lens (or nowdays, on a digital colored carrd). Poetra of cinema, then, is the translation on film of the reality you see, interpret, and relive, which you can then re-elaborate with editing and other instruments to give it a new form. It` s a transformation and creation of surrounding reality. Sometimes I heard it said that my films are documentaries, according to a classification that distinguishes fiction films from documentaries. But these sorts of classification, if too strict, risk giving us faulty indications of how to ead the film. Cinema, even when “stealing” from the real, working fom real-life situations and nature scenography, can juxtaposed through editing. Cinema has the function of creating. Even documentary cinema can falsify, in a way that can be negative and harmful. Counterfeiting in oder to conceal. If you start from an interior need to share feelings, then you can reach a cinema of poetry. But if yu start with the intention of counterfeiting, then it csan become a cinema of negation, occlusion, and obscuantism. As opposed to vision, it becomes occlusion.
What is the role of the spectators in all this?
That`s the point. When we relive these experiences and we re-ceate them with our fantasies by whatever means, even a cinema based on seeing and hearing, we are trying to formulate and stabilize a new vision of the world, new feelings, emotions. But this process is not just for one`s own sake, but also for communicaing these sensations to others. With my films, I want to put myself in a relationship with spectators that will watch and listen with their eyes and ears. So, I`m looking for a language that can get to the others, because one of the fundamental needs that define our existence is that of forming relationships with others. Except, of course, in extraordinary cases of mysticism. Generally speaking, humans are ment to live in a social enviroment, with others. Therefore, cinema, too, even if it begins with and navigates through the personal experiences of the author, wants to be recognized by the other, seen by the other. It is fron the other that the piece seeks to recive an answer, a confirmation, or a contradiction. It needs a dialogue.
And what is the role of cinema of poetry?
I`d say it is precisely that which permits to the author to liberate his/her own most intimate experiences, bring them to light, and crystalize them. And among other things, when you`re talking about cinema, the phrase “bring to light” has an even more complex meaning. But then it is important to ee that these experiences reach the eyes and ears of others, that they move their eyes and their minds. Therefore, cinema needs to generate a dialogue, an answer. Again, there is a continuous need to realte to others.
Whati is the personal neccessity that moves you as an artist and a director?
It is exactlyx this: to create characters, figures immersed im my surrounding animal and vegetable world, and to shae with the others. Humans are not individuals in an absolute sense. They participate with others, are born of others, and thive upon the act of relating to others. I believe that there is an innate need to exchange and enter into symbiosis with not only the people close to us, but also those who are far away. It is wonderful to hear that your message, even if scent in a non-translatable language, reaches everyone`s ears.”
((Silvia Carlorosi received a Laurea in Lingue e Letterature Straniere from the University of Urbino, Italy, an M.A. in Mass Communications at Miami University of Ohio (May 2001), and a Ph.D. in Italian at the University of Pennsylvania (August 2006). She wrote her dissertation, “Cinepoiesis: The Visual Poetics of Pier Paolo Pasolini, Michelangelo Antonioni and Franco Piavoli,” on the interaction between cinema and poetry. Departing from an analysis of Pasolini’s idea of “cinema of poetry,” her work considers how this poetic form differs from a cinema of prose, and evaluates the ideas of the image and the gaze.))
Le stagioni (1961, 27’)
An eternal and cyclical movement. A young lady lives through the seasons. With his 8 mm Paillard, the director begins his poetic journey with a prolonged observation of nature, which condenses the passing of time into one single shot.
Domenica sera (1962, 11’)
Young peasants come together to dance in the evening. The girls arrive by bike; the boys get ready for them by doing their hair. The less shy amongst them begin to dance. Then, some of them go home, singing as they go, delighted to have obtained a promise. Others take advantage of the dark to make love.
Emigranti (1963, 11’)
Emigrants from Calabria arrive at Milan station with their luggage, to make their home there or set off for other destinations. A man falls asleep in a waiting room. The travellers look lost and tired. The language of the others is henceforth incomprehensible; they are already foreigners in their own country.
Evasi (1964, 12’)
A football match in a small village. The football supporters are labourers – their faces can be picked out from behind the fences: the moment of escapism becomes a mass, desperate and wild cry. This politically powerful film adopts the musical structure of a concerto: Allegro, Adagio, Allegro.
Affettuosa presenza (2004, 45’)
The life and work of the poet and sculptor, Umberto Bellintani, seen through his correspondence with the art critic and historian, Alessandro Parronchi. The letters reveal the brotherly trust uniting the two friends, as well as the deep sensitivity that inspired the poet’s lines. Acclaiming the harmony of two artistic sensitivities, the film blends the beauty of poetry in words with that of poetry in images.
UKUPNO TAJANJE PROGRAMA: 107 minuta
(POWERED BY AGITATE 21:C WEB-ORIENTED GROUP)
Jutta Pryor – e . t e r n i t y (Australia; 2018) 00:30
Robert Withers – Sub Rosa (USA; 1975-2019) 22:21
Michael Woods – Dailies from Dumpland 1-2 (USA; 2017) 15:24
Sebastián Jiménez Galindo – Shopping for a Face as Seen in a Dream (Mexico; 2019) 03:32
Enzo Cillo – What remains (Italy; 2017) 06:57
Elizabeth Vazquez – _neuter_ality_ (USA; 2019) 07:11
Usama Alshaibi – The Muslim Meme (USA; 2017) 04:30
UKUPNO TRAJANJE PROGRAMA: 60 minuta
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