Queramos filmar chicas y chicos en el mundo real (ser ellos y el

mundo)
La camera cest pas un certitude cette une dubte.
La duda ha ido reemplazndose poco a poco por la certidumbre. Y
es muy extrao porque el cine ha nacido al mismo tiempo que las
teoras fsicas modernas, de laxxxx, en relacion de incertidunmbre,
o de complemntariedad.
Vrai/faux passaport
Algeria, dreyer.
Amor de la imagen por el texto y vicivesar . (jaula-pajaro-hilito)
Histoires du cinema
1) all the (Hi)stories
ojos.
Do not show every aspect of things. Allow yourself a margino fi
ndefiniteness.
Velocidad- tiempo. Ralent.
Sonido . pausa.
Nicholas ray
BROKEN BLOSSOMS. NICHOLAS RAY.
MADE IN USA
PLANO DE LA VOZ.
A televisin director thinks at the most of 200 movies per year.
IRVING THALBERG.
El nico que pens en 52 pelculas al da
To tell, for example, all the stories of movies that were never made.
Rather than the other ones. We can watch the other ones on TV,
lets not exaggerate. Note ven cpies, reproductions.
Like people who meet in the way and become inseparable (image
and sound)
The birth of a nation, of hope
El cine nunc quiso crear un evento, sino una visin.
Only the hand that erases can wirte.
A PLACE ON EARTH

THE SLAVES OF DESIRE

1b
CINEMA was projected and the men saw the world was there. An
almost untroubled world, still. But a telling world. But instead of
uncertainty, set the idea nad the feeling. Las dos grandes histoiras
sexo y muerte.
If an image, looked at by itself, exrpesa alguno coso, if it involves an
interpretation, it will not be tranformes on contact with other
images. The other images dont have power over it and it will have
no power over the other images. Neither actio, nor reaction. It is
definitive and unsufull in the cinematography system
WHITE SHADOWS
UNE INDUSTRIE DE LEVASION
PHANTOM AFRCA. THE FRUITS OF THE EARTH.
IT IS NOT JUST AN IMAGE, ITS A JUST IMAGE.
ORDINARY FACISM ANTONIO DAS MORTES MOI, UN NOIR
THE END OF OPPRESSION DEPENDS ON WHOM? ON US!
LE SECRET
2. Only cinema

I was alone, lost, as we say, in my thoughts. I had a book in my

hand, manet, by Georges Bataille. All the women of Manet seem tos
say, I know what your are thinking about. Probably because until
this painter, and I knew this from Malreux, the inner truth remained
more subtle than the cosmos. The famous and pale smiles of da
vince and de vermeer say, me, firstly me, and then, the world
Even the woman with a pink scarf from Corot doesnt think what
Olympia is thining, what Berthe Morisot is thinking, what the
barmaid of the Folies Bergre is thinking. Because the world, final,
the inner world joined the cosmos. And with Edouard Manet start the
era of modern painting, which means the cineamtograph, which
means shapes making their way towards speech. Very precisely a
shape that thinks.
The cinema was meant to think but well forget that right away.
We can film the work, madamme, not the heart.

PENSAMIENTO
THE REAL HUMAN condition is to think with the hands.
Rilke i am real when i create
Its about thime that the thought becomes once again what it really
is, dangerous for the thinker, and transfroming reality. wherever I
create I am real writes Rilke. We say, some think, the others act.
But the real human condition is to hink with the hands. I will not say
anything bad about our toold, but I would like them to be usable.
If it is true that the danger doesnt lie in our tools, but in the
weakness of our hands, we must say that a thought that surrenders
to the ryth of its mechanism prolatarianizes itself. And such a
thought doesnt live of its creation any more.
La desesperacin del arte y su itento desesperado de crear lo
imperecedero con cosas perecederas. Con palabras, sonidos,
piedras, colores. Y as, que el espacio estructurado dure ms all de
las pocas. Arte despiadado. Arte, si pero no s, no soy tengo que
estar en paz con el mundo para salir afuera.
La bsqueda y el descubrimiento
Un gozo golozo menospreciando el conocimiento
En el reino de la belleza, en la periferia, en la periferia lejana
exclusivamente accesible con la vista y a travs de sta accesible a
la duracin terrestre. Pero inaccesible a la humanidad, al deber
humano. Ante el hombre, pues, se desvela la belleza como una ley.
Pero una ley extranjera al conocimiento, desvelando la perdicin de
la bellexa que se posicin ella misma como ley. Por el amor a ella
misma. Encerrada en ella misma. Incapaz de renovarse, ampliarse,
desarrollarse.
Era un inmenso espacio infinito que se extiende en direcciones
infinitamente numerosas. Un espacio donde las frases no se
sucedan sino que se encabalgaban en los entrecruzados infinitos.
Ya no eran frases sino cpulas de lo inexpresable. La cpula de la
vida. La cpula de la creacin. Abrazando el mundo.