Saturday, 29 May 2010

Sharpened Tears. Yasujirō Ozu. The End of Summer (Dernier caprice) / Kohayagawake no aki / 小早川家の秋


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Sharpened Tears
Yasujirō Ozu
The End of Summer
(Dernier caprice)
Kohayagawake no aki
小早川家の秋


Gilles Deleuze

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

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

2b
Everyday banality
La banalité quotidienne


The famous scenes of sudden tears (that of the father in An Autumn Afternoon who starts to weep silently after his daughter's wedding, that of the daughter in Late Spring who half smiles as she looks at her sleeping father, then finds herself on the verge of tears, that of the daughter in Dernier caprice who makes a sharp comment about her dead father, then bursts into tears) do not mark out a strong period which might be contrasted with the weak periods in the flow of life, and there is no reason to suggest the emergence of a repressed emotion as 'decisive action'. [Deleuze Cinema 2, 1989: 14ab]

Les célèbres scènes de larmes soudaines (celle du père d'« Un après-midi d'automne » qui se met à pleurer silencieusement après le mariage de sa fille, celle de la fille de « Printemps tardif » qui sourit à demi en regardant son père endormi, puis se retrouve au bord des larmes, celle de la fille de « Dernier caprice » qui fait une remarque aigre sur son père mort, puis éclate en sanglots) ne marquent pas un temps fort qui s'opposerait aux temps faibles de la vie courante, et il n'y a aucune raison d'invoquer l'émergence d'une émotion refoulée comme « action décisive ». [Deleuze Cinéma 2, 1985: 24cd]


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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, 17 May 2010

The Flavour of Rice over Coca-Cola. Yasujirō Ozu. An Autumn Afternoon / Sanma no aji / 秋刀魚の味

presentation by Corry Shores
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[Below is quotation. My own notes are bracketed in red.]

The Flavour of Rice over Coca-Cola
Yasujirō Ozu
An Autumn Afternoon
Sanma no aji
秋刀魚の味


Gilles Deleuze

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

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


2b
Everyday banality
La banalité quotidienne


American ordinariness helps break down what is ordinary about Japan, a clash of two everyday realities which is even expressed in colour, when Coca-Cola red or plastic yellow violently interrupt the series of washed-out, unemphatic tones of Japanese life. And, as the character in The Flavour of Green Tea over Rice [sic: An Autumn Afternoon ?]: what if the opposite had occurred, if saki, samisen and geisha wigs had suddenly been introduced into the banality of Americans. . .? [Deleuze Cinema 2, 1989: 14-15]

l'ordinaire américain vient percuter l'ordinaire du Japon, heurt de deux quotidiennetés qu s'exprime jusque dans la couleur, lorsque le rouge Coca-cola ou le jaune plastique font brutalement irruption dans la série des teintes délavées, inaccentuées, de la vie japonaise. Et comme dit un personnage du « Goût du saké » : si ç'avait été l'inverse, si le saké, le samisen et les perruques de geisha s'étaient soudain introduits dans la banalité quotidienne des Américains...? Deleuze Cinéma 2, 1985: 25c]

[In The Flavour of Green Tea over Rice, there is not a conversation like what is described in the quotation above. The French title for The Flavour of Green Tea over Rice it seems is Le Goût du riz au thé vert. However, the title Deleuze uses in the Cinéma text is Goût du saké, which we understand is the French title for An Autumn Afternoon. In this movie there is a conversation that is vaguely like what Deleuze describes. Here is that scene, in case it expresses Deleuze's point. Before it is a small clip from End of Summer, showing a Coke sign on the wall.]

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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.


Friday, 14 May 2010

Out Vile Jelly. Luis Buñuel. Un chien andalou


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Out Vile Jelly
Luis Buñuel
Un chien andalou



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)



3b: From the Optical and Sound Image to the Dream-Image
3b: De l'image optique et sonore à l'image-rêve
(3d: Ses deux pôles : René Clair et Bunuel)


In Buñuel's Un chien andalou the image of the thinning cloud which bisects the moon is actualized, but by passing into the razor which bisects the eye, thus maintaining the role of virtual image in relation to the next one. A tuft of hair becomes a sea-urchin, which is transformed into a circular head of hair, to give way to a circle of onlookers. [Deleuze Cinema 2, 1989: 55a]

Dans « Un chien andalou » de Bunuel, l'image du nuage effilé qui coupe la lune s'actualise, mais en passant dans celle du rasoir qui couple l'oeil, gardant ainsi le rôle d'image virtuelle par rapport à la suivante. Une touffe de poils devient oursin, qui se transforme en chevelure circulaire, pour faire place à un cercle de badauds. [Deleuze Cinéma 2, 1985: 78cd]

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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, 12 May 2010

Marvels Composed. Yasujirō Ozu. Floating Weeds / Ukigusa / 浮草

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Marvels Composed
Yasujirō Ozu
Floating Weeds
Ukigusa
浮草




Gilles Deleuze

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

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


2c
Empty spaces and still lifes
Espaces vides et natures mortes



the marvellous composition with the bottle and the lighthouse, at the beginning of A Story of Floating Weeds [sic: Floating Weeds]. [Deleuze Cinema 2, 1989: 16bc]

l'admirable composition à la bouteille et au phare, au début d'« Herbes flottantes ». [Deleuze Cinéma 2, 1985: 27b]

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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.


Sunday, 9 May 2010

Phantasmal Fantasies. Joseph Mankiewicz. The Ghost & Mrs. Muir [Corrected Entry]


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[The following is quotation.]

Phantasmal Fantasies
Joseph Mankiewicz
The Ghost & Mrs. Muir


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)

2c: The two poles of the flashback: Carné, Mankiewicz
2c: Les deux pôles du flash-back : Carné, Mankiewicz


In its very essence, memory is voice, which speaks, talks to itself, or whispers, and recounts what happened. Hence the voice-off accompanies the flashback. In Mankiewicz this spiritual role of memory often gives way to a creature more or less connected with the beyond: the phantom in Mrs. Muir's Adventure, the ghost in Whispers in the City [sic. People Will Talk], the automata in Bloodhound [sic. Sleuth]. [Deleuze Cinema 2, 1989: 49b]

Dans son essence même elle est voix, qui parle, se parle ou murmure, et rapporte ce qui s'est passé. D'où la voix off qui accompagne le flash-back. Souvent chez Mankiewicz ce rôle spirituel de la mémoire fait place à une créature plus ou moins liée à l'au-delà : la fantôme de «L'aventure de Mme Muir », le revenant de « On murmure dans la ville », les automates du «Limier ». [Deleuze Cinéma 2, 1985: 71b]

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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.