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Viennale 2010: Misterios de Lisboa, Raoul Ruiz, 2010

We really would like Camilo Castelo Branco read literary work after this film, a Epic from the 19th Century, unfortunately it seems neither German nor English translations give. The film does not communicate how much of it in Branco's work is created, if all the intrigue, deceit, lies, stories add to the already there, already strange origin without origin story of modernism, which she has become at Ruiz. Or if the novel was just a good working history machine, which was enriched with more random codes of modernity (the French Revolution, America). The elegant
tremendously exciting movie (the basic rate of movement of the late tracking shot is) at least construct a world in which individuals no longer identical with itself and This also means no more identical to the social configuration in which they were born, are. The individual is the Lord (rare: the mistress) on one's own biography. Appearance, name, social rank are no longer natural, but are negotiable. Cladding and adoption are the fundamental motives that drive the film. In the center is a boy with his school friends as opposed to only a first name and is teased: In addition to the genealogy is mentioned, and thus available for comparison with each. A person with only one name must either be one child or no one there must be a conspiracy against the present identity. The latter is Misterios de Lisboa in the case, the disclosure of a conspiracy, however, leads never more than a new conspiracy behind the conspiracy. Either way, a man cut off without any additional name to the categorization of society. In this child in the center of the film, whose genealogy a single conspiracy, the film is the origin story of a social formation that transforms all the social and biological conditions in potential. Ursprungslos this origin story, because the main character is hardly ever active subject but a passive crystallization point remains, around which the story of history, fraud attaches to fraud. The main character himself experienced the modernization of its multiple-melodrama, as an eternal "too late".

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Viennale 2010 Jacobs

include The Day Was a Scorcher, 2009
A Loft, 2010

to my best discoveries this year's Viennale two new films of well over seventy years avant-garde. Both employ a similar technique that I did not understand to the last: Jacobs assembled frames or very few frames of film in continuous three-dimensional sounding sculptural arrangements. Small displacements and intermediate Schwarzenbilder construct virtual movements, which can also understand it is forced, if one sees through their virtuality has. Often buzzes a plastic world that has become an immobilized, flat pivot.
The Day Was a Scorcher uses photographic or film material (as I've found different information), Jacobs has taken decades ago self: walk a family vacation, his wife and two children by a (European?) City. In the absurd premises received the faces of a pictorial quality, as I have never seen before. The images are a part enthistorisiert radical and enrolled into the digital age, on the other hand, win the close-ups of the faces an expression to evoke the entire history of film at once seems.
A Loft shall be the starting material to the end: The film is based on a few seconds long swing through a rather messy apartment. Jacobs will split the pan and turn the apartment with a flicker, color correction and videographic image turns into a kind of spaceship that gets at every turn a new, shimmering space and a new, semi-material texture.

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love Sibylla,

like you've just described the concept, I can understand him much better. This form is also infirmity a matter of aesthetics - beauty is more exciting with fractions, the beauty in ugliness. In this context I would also recommend "Axolotl Road Kill" Helen Hegemann (I've now finished reading). The novel goes on, however, breaks out, he describes a broken 16-year-old and is quite hard, so acute that it is also funny. In form and content it contains a radical critique of society to be without moral. You can tell that she is strongly influenced by theater people as Pollesch and Schlingensief. So I had more fun and found him at the end really smart and punky.

I think it's great that you are at the Literature Festival in Pristina 've read, and that it was good. Do you have the others, does sometimes talk about their living conditions as authors? We both have a short-term professional use, quiet. But all this waiting, Promote and questions is still very close and probably come back sometimes. However, I hope we've done the worst. This week, an interview with Christiane Rösinger read, and she says, correctly, that there is actually no more Bohemians, but only precariat. When I think of my professional attitude in his early twenties back, because much has changed. In the past, my main goal is always to work so not too much, and certainly not something that is boring or normal is. Now I shall be very glad to earn money even with a work for which qualified me somehow my studies. And money is contrary to my expectations, but more important ... As a student with a slightly above-average maintenance can still be said that money was a not so important. Do not worry, I'm not now completely ruined and publications will give me more satisfaction than money, but life in this system is only ok if you can mitkonsumieren. Apart from the luxury of fun, so you will at least be able to pay his rent and his food himself. I'm probably more influenced by the fact that I personally yesterday after a very long time what needed to clarify the Job Center. It is always depressing, and makes very angry. And then there is always much to tell, funny that the so-churning. The rolling hill cinema, before the sign I was standing in line for a long time, Tue-Sun offers discounts for students and ALG II recipients. Given the absence of just retired and you can life sentence reduced to the movies ...

Regards,

your Eva