Friday, 29 January 2010

Disorderly Caddies. Jerry Lewis. The Disorderly Orderly


presentation by Corry Shores

[Central Entry Directory]

[Cinema Entry Directory]
[Filmmakers, Entry Directory]
[Jerry Lewis, Entry Directory]

[Search Blog Here.]


[The following is quotation]




Disorderly Caddies
Jerry Lewis
The Disorderly Orderly


Gilles Deleuze

Cinema 2: The Time Image
Cinéma 2: L'image-temps

Chapter III. From Recollection to Dreams: Third Commentary on Bergson
Chapitre III. Du souvenir aux rêves (troisième commentaire de Bergson)

3g: Lewis and Tati
3g: Lewis et Tati


It is no longer the machine that goes wrong and goes mad, like the feeding-machine in Modern Times, it is the cold rationality of the autonomous technical object which reacts on the situation and ravages the set: not just the electronic house and the lawn-mowers in It's Only Money, but the caddies who destroy the self-service (The Disorderly Orderly) and the Hoover that devours everything in the shop, goods, clothes, customers and wallpaper (Who's Minding the Store). [Deleuze Cinema 2, 1989: 63b]

Ce n'est plus la machine qui se dérègle et devient folle, comme la machine à nourrir des «Temps modernes », c'est la froide rationalité de l'objet technique autonome qui réagit sur la situation et ravage le décor : non seulement la maison électronique et les tondeuses à gazon dans « It's only money », mais les caddies qui détruisent le libre-service ( « The disorderly orderly ») et l'aspirateur qui dévore tout dans le magasin, marchandises, vêtements, clients, revêtement mural ( « Who's minding the store »). [Deleuze Cinéma 2, 1985: 89a.b]


video


Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris: Les éditions de minuit, 1985.

Thursday, 28 January 2010

Eruptions of God. Roberto Rossellini. Stromboli


presentation by Corry Shores
[Search Blog Here.]

[Central Entry Directory]

[Cinema Entry Directory]
[Filmmakers, Entry Directory]
[Roberto Rossellini, Entry Directory]


[The following is quotation. My commentary is in brackets.]




Eruptions of God
Roberto Rossellini
Stromboli



Gilles Deleuze

Cinema 2: The Time Image
Cinéma 2: L'image-temps


Preface to the English Edition

Hence Rossellini's great trilogy, Europe 51, Stromboli, Germany Year 0: a child in the destroyed city, a foreign woman on the island, a bourgeois woman who starts to 'see' what is around her. [Deleuze Cinema 2, 1989: xi]


Ch. 1
Beyond the Movement Image
Au-delà de l'image mouvement

1b.
Optical and sound situations, in contrast to sensory-motor situations: Rossellini, De Sica
Les situations optiques et sonores, par opposition aux situations sensori-motrices : Rossellini, De Sica

Stromboli presents a foreign woman whose revelation of the island will be all the more profound because she cannot react in a way that softens or compensates for the violence of what she sees, the intensity and the enormity of the tunny-fishing ('It was awful . . .'), the panic-inducing power of the eruption ('I am finished, I am afraid, what mystery, what beauty, my God . . .') [Deleuze Cinema 2, 1989: 2c]

«
Stromboli » met en scène une étrangère qui va avoir une révélation de l'île d'autant plus profonde qu'elle ne dispose d'aucune réaction pour atténuer ou compenser la violence de ce qu'elle voit, l'intensité et l'énormité de la pêche au thon («c'était horrible...»), la puissance panique de eruption («je suis finie, j'ai peur, quel mystére, quelle beauté, mon Dieu...»).
[Deleuze Cinéma 2, 1985: 8d]


3a.
The Intolerable and Clairvoyance
L'intolérable et la voyance

[A purely optical and sound situation ...] is a matter of something too powerful, or too unjust, but sometimes also too beautiful, and which henceforth outstrips our sensory-motor capacities. Stromboli: a beauty which is too great for us, like too strong a pain. It can be a limit-situation, the eruption of the volcano, but also the most banal, a plain factory, a wasteland. [Deleuze Cinema 2, 1989: 17d]

[Une situation purement optique et sonore ...] s'agit de quelque chose de trop puissant, ou de trop injuste, mais parfois aussi de trop beau, et qui dès lors excède nos capacités sensori-motrices. «
Stromboli » : une beauté trop grand pour nous, comme une douleur trop forte. Ce peut être une situation-limite, l'éruption du volcan, mais aussi le plus banal, une simple usine, un terrain vague. [Deleuze Cinéma 1, 1985: 29b]


Ch.3
From Recollection to Dreams: Third Commentary on Bergson
Du souvenir aux rêves (troisième commentaire de Bergson)

1c.
Rossellini's Characters
Personnages de Rossellini


in Rossellini, the island of
Stromboli passes through ever deeper descriptions, the approaches, the fising, the storm, the eruption, at the same time as the foreign woman climbs higher and higher on the island, until description is engulfed in depth and the spirit is shattered by a tension which is too strong. From the slopes of the unleased volcano, the village is seen far below, sparkling above the black waves, while the spirit whispers: 'I am finished, I am afraid, what mystery, what beauty, my God . . .'. [Deleuze Cinema 2, 1989: 45a]

chez Rossellini, l'île de « Stromboli » passe par des descriptions de plus en plus profondes, les abords, la pêche, l'orage, l'éruption, en même temps que l'étrangère s'élève de plus en plus haut dans l'île, jusqu'à ce que la description s'abîme en profondeur et que l'esprit se brise sous une trop forte tension. Des pentes du volcan déchaîné, le village est vu tout en bas, brillant sur le flot noir, tandis que l'esprit murmure : « je suis fini, j'ai peur, quel mystère, quelle beauté, mon Dieu...». [Deleuze Cinéma 2, 1985: 65-66]


[In the clip below, we see the Italian man propose marriage to the foreign woman. They marry, and the man takes her to
his home on Stromboli island .]

video


[We see how desolate, lonely and inhospitable the island is. The foreign woman suffers.]

video


[And she is horrified by the gruesomeness of Tuna fishing. Note its interesting ritual nature. See the next two clips.]

video


[At the end of this clip is the part where she says, 'it was horrible.']

video


[Below we watch the volcano eruption.]

video


[After the eruption, the foreign woman can no longer tolerate life on the island. She is pregnant, and she does not want to raise her child there. So she declares her determination to leave Stromboli. To keep her there, her husband bars her into their home. From the window, she sees a male friend whom she is fond-of. He rescues her. To him, she confesses her plan to cross the island over the volcano, and she begins her journey.]

video


[She struggles through the smoke and fumes as she ascends the volcano. She is apparently uncertain that she can succeed.]


video


[She reaches the mouth of the volcano. She despairs and says, '
Enough. I am finished, I am finished, I haven't the courage. I am afraid.' She sleeps to what looks like a starry night sky, but might perhaps be lights from the city; as Deleuze writes, the "village is seen far below, sparkling above the black waves." She awakes upon dawn.]

video


[Awaking to the volcano, she says, "What mystery, what beauty." She is resolved to carry herself and her unborn child onward. Then she finds God.]

video




Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris: Les éditions de minuit, 1985.


Wednesday, 27 January 2010

Mud to Mud. Orson Welles. Touch of Evil


presentation by Corry Shores
[Search Blog Here.]

[Central Entry Directory]

[Cinema Entry Directory]
[Filmmakers, Entry Directory]
[Orson Welles, Entry Directory]




Mud to Mud
Orson Welles
Touch of Evil



Gilles Deleuze

Cinema 2: The Time Image
Cinéma 2: L'image-temps

Ch.5 Peaks of Present and Sheets of Past: Fourth Commentary on Bergson
Pointes de présent et nappes de passé

2e
Memory, time and earth
La mémoire, le temps et la terre


In Welles, the usual way of dying is flat on your stomach, the body already in the earth, dragging yourself, crawling. All the coexistent strata are in touch and adjacent to each other in a muddy vital medium. The earth as primordial time of the autochthonous. And this is what the cohort of Welles great characters see: the hero of Touch of Evil who dies in the wet, blackish earth; the one in The Trial who dies in the hole in the ground, and, earlier, Major Amberson in great pain, speaking with difficulty: '-and us, we came out of the earth . . . So in any case we ought to be in the earth. . .' [Deleuze Cinema 2, 1989: 111d]

Chez Welles, en général on meurt à plat ventre, le corps déjà dans la terre, et en se traînant, en rampant. Toutes les strates coexistantes communiquent et se juxtaposent dans un milieu vital boueux. La terre comme temps primordial des autochtones. Et c'est ce que voient la cohorte des grands personnages de Welles : le héros de «Touch of evil » qui meurt dans la terre humide et noirâtre, Celui du « Procès » qui meurt dans le trou de la terre, mais déjà le major Amberson agonisant qui parlait avec peine, « et nous, nous sommes sortis de la terre… alors de toute façon nous avons dû être dans la terre… ». [Deleuze Cinéma 2, 1985: 151b]


video







Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris:Les éditions de minuit, 1985.






Monday, 25 January 2010

Decentering Destruction. Orson Welles. Touch of Evil.

[The following is quotation]



Decentering Destruction
Orson Welles
Touch of Evil


Gilles Deleuze

Cinema 2: The Time Image
Cinéma 2: L'image-temps

Chapter 6:
The Powers of the False
Les puissances du faux

2d.
The Transformation of the Centre in Welles
La transformation du centre chez Welles


in becoming, the earth has lost all centre, not only in itself, but in that it no longer has a centre around which to turn. Bodies no longer have centres except that of their death when they are exhausted and return to the earth to dissolve there. Force no longer has a centre precisely because it is inseparable from its relation to other forces: so, as Didier Goldschmidt said, short shots constantly topple to right and left and the sequence shot likewise throws up a jumble of vanishing centres (the opening of Touch of Evil). [Deleuze Cinema 2, 1989: 137-138]

dans le devenir, la terre a perdu tout centre, non seulement en elle-même, mais elle n'a plus de centre autour duquel tourner. Les corps n'ont plus de centre, sauf celui de leur mort quand ils sont épuisés, et rejoignent la terre pour leur mort quand ils sont épuisés, et rejoignent la terre pour s'y dissoudre. La force n'a plus de centre précisément parce qu'elle est inséparable de son rapport avec d'autres forces : alors, comme disait Didier Goldschmidt, les plans courts ne cessent de basculer, à droite, à gauche, autant que le plan-séquence suscite un fouillis de centres évanouissants (l'ouverture de « Touch of evil »). [Deleuze Cinéma 2, 1985: 186b]



video



Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris:Les éditions de minuit, 1985.