FILM DAYS 2013 Thursday Jan 17th- Saturday 19th

Welcome to
FILM DAYS 2013   Thursday Jan 17th- Saturday 19th

IMMANENCE AND TRANSCENDANCE  – Dreyer, Bresson, Tarkovsky

Introductions will be held by Astrid Söderbergh-Widding, Professor of Cinema Studies, Stockholm. Astrid also joins for discussion after the films Thursday and Friday.
Membership Filmklubben Sandgatan 8 Lund (70 Skr) required. (If there is a problem with money, then we solve that)  Membership includes all films during 2013.
Students and young adults welcome.
You can register on spot. Space is limited.Location: Dominikanerna, Sandgatan 8, Lund. 100 m from the AFbuilding.
Info bjorn@dominikan.nu
Program
BALTHAZAR
Robert Bresson, France 1966 95 min
Bresson blends his minimalist aesthetic with religious imagery in this film, which traces the parallel lives of Marie, a farm girl, and Balthazar, her donkey, as the two suffer abuse.
Thursday Jan17th 7pm

STALKER
Andrei Tarkovsky Soviet Union 1979  163 min
A guide takes two clients to “the Zone,” an alien place wherein lies a room that is said to grant one’s innermost desires.
Friday Jan 18th 6.30 pm
JOAN OF ARC
Carl Dreyer 1928  65 min
Saturday Jan 19th 11.30 am LUNCH between the Joan of Arc films, bring things for the table -ca 1.30pmTHE TRIAL OF JOAN ARC
Robert Bresson France 1962
92 min
Saturday Jan19th 3pmBoth basing their films on the transcript of the actual court preceedings in 1430, Bresson and Dreyer portray Joan of Arc and her last days quite differently.

IMMANENCE AND TRANSCENDANCE
Hollywood is known as the Dream Factory. The film industry produces dreams for us to have. That is something else than saying that cinema allows or invites us to dream. Perhaps cinema asks us to dream—another difference. And dreaming serves various purposes. We feel the need to escape, sometimes for a moment of envigorating entertainment; other times for “movie therapy”, film’s capability of “catharsis”, the relieving emotional effect Aristotle traced to the core of all art.
Certain movies don’t seem to serve such self-indulging means. They emerge to us as cuts of self-sufficient realms, apprehensions other than ours. Without a clear entrance, they appear as demonstrations from within an insight. We then become witnesses of another reality—or, we are provoced to experience our reality enriched by this dream that clearly belongs to someone else, a dream that doesn’t seem to fit.
It’s not always the question of symbolism (pointing back to us). The theme of this year’s Film Days is Immanence and Transcendence. What we see is what we get. But what we see is so much more than what we have seen.
Uncompromising with their aesthetic ideals, Robert Bresson and Andrey Tarkovsky are regarded as two of the most integral directors in the history of cinema.
Tarkovsky’s science fiction story Stalker is often revered by critics as the artistically most supreme film ever made. It is a deeply enigmatic piece of art. What is the message? many ask. I have seen it three times, and every time it changes meaning for me. Perhaps, Tarkovsky in Stalker explores our need of the sense of intelligibility. Is Stalker to its essence at all a symbolic film?
In Bresson’s film known in English as Balthazar (original French title may be of importance: Au hasard Balthazar), the donkey Balthazar is a witness of another reality. But what kind of witness? For once, austere “behaviorist” master Bresson uses symbolism. But is it the simple symbolism of depiction?
We will see yet another film by Bresson, The Trial of Joan of Arc, juxtaposed with the same story told by Danish director Carl Theodor Dreyer, one of the pioneers of cinema. In his 1928 silent movie Passion of Joan of Arc, he introduces oblique angles, skewed framing, disjoined, high-speed cutting and radical close-ups of lead actress Maria Falconetti’s face. It is a moving tour de force. Stage comedienn Falconetti was pressed so hard by Dreyer that she allegedly tried to commit suicide after the recording. Her acting performance in The Passion of Joan of Arc—the only movie she made—is considered as one of the greatest ever to be put on film.While Dreyer and Bresson tell the same story, their m.o.’s are quite different. Dreyer lets Joan’s tormented face bear her experiences and destiny; Bresson focuses on her speech, quoted from the court transcript. Even this choice of utter reduction of drama, the stern loyality to the saint’s testimony, the immanence of her words creates a peculiar transcending effect. “In the beginning there was the Word.”                                    Magnus Ingvarsson
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2 responses to “FILM DAYS 2013 Thursday Jan 17th- Saturday 19th

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  2. What a stuff of un-ambiguity and preserveness of precious experience concerning unpredicted emotions.

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