rouge 4

Eine neue Ausgabe gibt es von Rouge, der extrem simpel gelayouteten, ganz auf die Texte konzentrierten Filmzeitschrift aus Kanada. Und die Texte haben es - wie stets - in sich. Es beginnt mit einem kurzen Essay (erstmals erschienen 1998) des Filmemachers Victor Erice (Jump-Cut-Kritik zu seinem Debüt Spirit of the Beehive), der über das Schreiben über das Kino schreibt und über das Kino:

I think that among the arts, cinema is the least known. Its history is generally ignored, and so is, above all, its real nature. As cinema is the most secret of all artistic languages, it is also the least understood.

Es folgt ein jüngerer Text von Erice aus dem Jahr 2003, über Manoel de Oliveira:

Oliveira is thought to be the contemporary initiator of a movement devoted to the ritualisation of Portuguese culture. For him, all that we see, in our role as spectators, is made manifest as theatre. In such a way that cinema, once it assimilates the idea of modernity, is offered two alternatives: to either film the spectacle of life or to film the spectacle of the stage.

Außerdem wird ein Vortrag von Shigehiko Hasumi über Ozu's Angry Women veröffentlicht:

The stories of Ozu's later films have often been summed up in the following terms: the sorrow of a widower as he marries off his daughter. But few people seem to have recognised that unconsciously suppressed in such summaries is the story of the sorrow naturally felt by the daughters who are married off by their widowed fathers.

José Louis Guérin schreibt über die Entstehung seines Films En Construcción.

The production of En Construcción lasted three years. The first year we didn’t shoot a single image, not one frame. It consisted only of meetings between the students comprising the film crew and me, to chat and watch films together. However, without this experience of the first year, the rest of the process couldn’t have been possible – the production of the film over the following two years.

Vom Filmwissenschaftler Thomas Elsässer gibt es einen sehr langen Buchauszug zum Thema RAF im deutschen Film, dann etwas ein bisschen Merkwürdiges von Jonathan Rosenbaum und Enrica Antonioni zu Michelangelo Antonioni.

Ganz großartig aber eine Ausgrabung aus den 70er-Jahren: Ein Interview, das der Kritiker - oder was auch immer - John Hughes (den Jonathan Rosenbaum kurz vorstellt) mit Jacques Rivette geführt hat:

But that was all improvised! It was a nice day, the sun was perfect, and we shot about an hour’s worth of improvised dialogue between the two girls. I like this way of shooting because the unexpected can overwhelm your preconceptions. At a certain point, the actor, like the patient in psychoanalysis, falls into a kind of trance and says things – such as Bulle’s talk about the strangling – that suddenly become an integral part of the film. I then select such moments from the footage and add them to the final version. I think that the cinema, even at its most naturalistic, is always secretly involved in levels of dream and fantasy, and that we must see the so-called director as a kind of psychoanalyst. Like the psychoanalyst, the director does not talk, he listens – but this is, of course, just a metaphor.

Außerdem: Dreimal was zu Hitchcock, einmal zum Fetisch der Plansequenz in Rope und zwei Texte zu The Paradine Case.