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23/11/2021


Marxism and Cinema by Andy Reactor (KinoSlang) & Me

https://kinoslang.blogspot.com/2021/03/blog-post.html



(...) At age 33, Straub was not lionizing their new profession in exile but stating an essential fact of film and literary history when he wrote in his 3-page autobiography from 1966: "... it appeals to me to make, as a Frenchman, in Germany, films that no German could have known how to make (just as no German would have known how to make Rossellini's Germany Year Zero or Fear, no American Buñuel's The Young One or Renoir's The Southerner, and no Italian could have written The Charterhouse of Parma.)" An extreme of this unheimlich (literally "un-home-like") practice is Franz Kafka writing Amerika without ever having visited America; the Straubs made a film of Kafka's incomplete novel in 1984, and called it Class Relations. (...)

https://kinoslang.blogspot.com/2017/02/blog-post_20.html


Chronik der Anna Magdalena Bach, Straub & Huillet, 1968

A

On location.The camera which moves, which is no longer immobile, which records all levels simul-taneously, which reverberates, which sets itself in motion.

B

In the theatres.The spectator who is no longer immobile in his chair, who is wrenched out, assaulted, who participates in the action, who recognizes himself on the screen among the convul-sions of the crowd, who shouts and cries out, protests and struggles.

C

On earth. At the same time, in all the cities of the world, the crowd which leaves the theatres, which runs out into the streets like black blood, which like a powerful animal extends its thou-sand tentacles and with a tiny effort crushes the palaces, the prisons.

Z

Deep In the heart.Watch the new generations growing up suddenly like flowers. Revolution. Youth of the world. Today.

WE: VARIANT OF A MANIFESTO (USSR, 1922)

Dziga Vertov


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