Papers by ivone margulies
Este ensaio explora como o uso da reencenacao em Serras da desordem , de Andrea Tonacci (Brasil, ... more Este ensaio explora como o uso da reencenacao em Serras da desordem , de Andrea Tonacci (Brasil, 2006), amplia criticamente a afiliacao problematica das populacoes indigenas as instituicoes e a ordem normativa brasileiras. O filme aciona a qualidade “anacronica” da reencenacao, criando um espaco especulativo para conformar e manter viva a questao do distanciamento de Carapiru (e dos indigenas). A expressao que uso para enfatizar a importância dessa des-originacao estetica e a-filiacao . Traducao de Marco Aurelio Alves e Roberta Veiga. Palavras-chave : Serras da desordem. A-filiacao. Reencenacao. Mimese.
“And It’s So Tiring”: Chantal Akerman’s Ruminative Economy
On Women’s Films
L'Esprit Créateur, 2011
Art is a reflection of our time: isn't it also the antidote?-Eric Rohmer A FTER A CERTAIN MOMENT,... more Art is a reflection of our time: isn't it also the antidote?-Eric Rohmer A FTER A CERTAIN MOMENT," states Serge Daney in "Actualité de Rohmer," "the filmmaker was recognized as one of the rare witnesses of his times. Even his critics who could not see themselves in his conservative ideology and antiquated thematic felt that ten years later films signed by Rohmer would become sociological 'documents' of a certain atmosphere of the times which would not always remain the same." 1 For Daney, the films' accurate representation of his characters' social idiolect explains Rohmer's success in finding his public once a year. His characters, a wave of ever-young individuals, constitute an archive of types from one particular social stratum: bourgeois, liberal professionals, artists and intellectuals who are united in being talkative. As they conjecture they reveal a set of values and ideas. A minor but curious absence, that of a filmmaker, in Rohmer's extensive roster of professionals suggests there may be something to my inquiry on the role of cinema, or more precisely of documentary images in Rohmer's work. The unprecedented use of newsreel footage in Rohmer's Triple Agent (2004) leads us to ask whether the inclusion of archival documents of the politically charged 1930s signals a departure for a director who markedly shuns selfreflexivity and who is thought to keep politics at bay. Although Rohmer's adaptations have incorporated a wide range of artificial materials, including visual and audio references ranging from paintings and plays to cardboard trees, film footage has been conspicuously absent. In Triple Agent, momentous political news and change blast intermittently throughout in stark contrast to this chamber-like espionage drama, the interplay between the archive and theater bringing to the fore ontological issues that have always preoccupied Rohmer, namely, the status of the real and of documentary in cinema. Documents and artifacts have a time-capsule role in Rohmer's second-degree realism. Cinema, as an instrument of witnessing, preservation, and archiving is inseparable from Rohmer's attraction to history. He reconstitutes "what would have been produced if cinema existed," 2 ostensibly compensating for the lack of photographic record of a given time as he does, for instance, when he filters the Paris of the French Revolution through eighteenth-century landscape painting in The Lady and the Duke.
Le monologue sériel: formes d'engagement dans le cinéma moderne
Hin zu einem körperlichen Kino: Theatralität in Chantal Akermans Filmen der 70er Jahre [1]
Akermans Aufenthalt in den USA in den fruhen 1970er Jahren brachte sie mit dem experimentellen Fi... more Akermans Aufenthalt in den USA in den fruhen 1970er Jahren brachte sie mit dem experimentellen Film, mit der Minimal Art und mit dem neuen amerikanischen Tanz und der Performance-Kunst in Kontakt. Die Kamera in »Hotel Monterey« und »News from Home« reprasentiert eine Variante des strukturellen Minimalismus. Akermans narrative Filmkunst inszeniert ein Kino der Gleichgultigkeit. Das Verhaltnis zwischen der geistigen Versunkenheit und der Theatralitat, das in »Jeanne Dielman«, »Je tu il elle«, und »Les Rendez-vous d'Anna« aufrechterhalten wird, deutet auf ein Verlangen hin, erneut mittels der Darstellung die Wahl zwischen dem Hinwenden des Gesichts zur Szene oder dem Hinwenden zum Publikum zu erleben.
Sacha Guitry, National Portraiture and the Artist's Hand
French Cultural Studies, 2005
Sacha Guitry is known for his witty farces and flamboyant historical film pageants. This study ex... more Sacha Guitry is known for his witty farces and flamboyant historical film pageants. This study examines his documentary films and their function as archive and display case of French genius: Ceux de chez nous (1915; 1952), a home movie showing among others Rodin, Anatole France and Andre Antoine, and MCDXXIX–MCMXLII De Jeanne d’Arc à Philippe Pétain (1943–4), a film consisting of an anonymous hand turning the pages of a book (of the same title), displaying in full view portraits, hand moulds and original manuscripts on and by great figures of French culture, arts and politics. The essay discusses how the image of the hand, omnipresent in the filmmaker's work and collections, bridges his passion for the theatre, collecting and film. The hand is central to Guitry's gestures of display, his presentational aesthetics. It is also the key signifier for traces of French identity and artistic genius.
Elemental Akerman: Inside and Outside No Home Movie
Film Quarterly
Margulies considers how Chantal Akerman embraces the directness of the home movie to redesign, th... more Margulies considers how Chantal Akerman embraces the directness of the home movie to redesign, through lighting, perspective, and framing, analogues for the intricate relationship of symbiosis and distance between herself and her mother. The essay attempts to understand the film's emotional immediacy alongside and in tension with the filmmaker's characteristic indirection. It looks therefore to the kitchen talks (a sort of primal script between mother and daughter) as well as to the mysterious desert shots that crisscross the film's main focus on the apartment's interiors as two key tropes in the filmmaker's oeuvre connoting, respectively, domesticity and nomadism. The essay discusses how delicately Akerman represents in the film both the absence and the presence of her mother, the thread traversing all of her films.
Filmes de Plástico’s Plural Realism
Film Quarterly, 2020
Ivone Margulies examines the output of Filmes de Plástico, a celebrated independent production co... more Ivone Margulies examines the output of Filmes de Plástico, a celebrated independent production company from Contagem, Minas Gerais. Her article focuses on two feature films: Temporada (Long Way Home, dir. André Novais Oliveira, 2018), and No Coração do Mundo (In the Heart of the World, dir. Gabriel Martins and Maurilio Martins, 2019.) The essay defines two forms—the portrait and the vista—used to articulate the relationship between individual and a broader social world in the films’ realist aesthetic.
Rites of realism: essays on corporeal cinema
... 44 in avant-garde film, he posits the ways in which cinema, and certain ... Arthur ex-plainsho... more ... 44 in avant-garde film, he posits the ways in which cinema, and certain ... Arthur ex-plainshowavant-gardecinemaanddirectcinemadocumentarieswerepar-ticularly prone to the display of social diversity in an ... The city is a recognized theme in discussions of realism.45 As ...
Delaying the cut: the space of performance in Lightning Over Water
Screen, 1993
Sacha Guitry, National Portraiture and the Artist's Hand
French Cultural Studies, 2005
Sacha Guitry is known for his witty farces and flamboyant historical film pageants. This study ex... more Sacha Guitry is known for his witty farces and flamboyant historical film pageants. This study examines his documentary films and their function as archive and display case of French genius: Ceux de chez nous (1915; 1952), a home movie showing among others Rodin, Anatole France and Andre Antoine, and MCDXXIX–MCMXLII De Jeanne d’Arc à Philippe Pétain (1943–4), a film consisting of an anonymous hand turning the pages of a book (of the same title), displaying in full view portraits, hand moulds and original manuscripts on and by great figures of French culture, arts and politics. The essay discusses how the image of the hand, omnipresent in the filmmaker's work and collections, bridges his passion for the theatre, collecting and film. The hand is central to Guitry's gestures of display, his presentational aesthetics. It is also the key signifier for traces of French identity and artistic genius.
Two Rooms, Monologues, Imaginaries, as Seen through their Texts
Film Quarterly
These texts represent monologues previously unavailable in English from two Chantal Akerman films... more These texts represent monologues previously unavailable in English from two Chantal Akerman films, La Chambre 2 (1972) and Le Déménagement (Moving Out, 1992), made two decades apart. Because they add significantly to the corpus of Akerman's writing and its aesthetic strategies, they have been specially translated and included in this dossier as a contribution to the archive. The Editors thank Cyril Béghin for facilitating access to these texts from the fonds Chantal Akerman, published (in French) in Bande(s) à part, Tome 25: Chantal Akerman, and give special thanks to Katharina von Bismarck and Éditions de l'Arche for their cooperation.
Reenactment and A-filiation in Serras da Desordem
In Person
This chapter discusses Serras da Desordem (Hills of Chaos) (Andrea Tonacci, 2007), which concerns... more This chapter discusses Serras da Desordem (Hills of Chaos) (Andrea Tonacci, 2007), which concerns an isolated Indian who reenacts atrocities that happened thirty years earlier, including his displacement and wandering until making contact with a rancher’s family and eventually rejoining the remainder of his group. The chapter analyzes the film’s hybrid texture, its mix of reenacted scenes with archival and TV and media images and the implication of cinema in the record of multiple instances of exploitation throughout Brazilian history. It also studies two long-span films returning to events that happened twenty years earlier—Twenty Years Later: A Man Marked to Die (Eduardo Coutinho, 1964–1984) and Corumbiara (Vincent Carelli, 2006) on first contact with isolated indigenous groups as a comparison with Tonacci’s approach to return and to Brazilian history. The chapter considers Tonacci’s self-ethnographic early projects and his experimental films in relation to this ambitious allegory...
The Equivalence of Events
Chantal Akerman’s Hyperrealist Everyday, 2012
Forms of Address
Chantal Akerman’s Hyperrealist Everyday, 2012
Cultural Indices
Essays on Corporeal Cinema, 2003
Bazinian Contingencies
Essays on Corporeal Cinema, 2003
Exemplary Bodies
Essays on Corporeal Cinema, 2003
Retracings
Essays on Corporeal Cinema, 2003
The Rhythm of ClichÉ
Chantal Akerman’s Hyperrealist Everyday, 2012
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Papers by ivone margulies