Unter den Bruchstellen der künstlerischen Formationen ist eine der gewaltigsten der Film. Wirklich entsteht mit ihm eine neue Region des Bewußtseins."
(via frutelia3000)
I don’t like the ambition in American films, and these characters don’t have ambition really and are also not intellectual characters, so it’s not an existential film. They’re not constantly questioning their existence or questioning the state of the world around them. Instead they have a kind of acceptance of it. Instead they move through the world of the film in a kind of random, aimless way, like looking for the next card game or something, rather than interpreting things as philosophical symbols or anything. So that relates to the reason why there isn’t the violence and sex and certain expected things in the film. The whole idea of the film was not really to give the audience anything that they would be expecting. And the form of the narrative itself works that way, too. If you stop the film at any point the audience wouldn’t have any idea what was gonna happen next, or really be that aware or that conscious of the narrative itself. Instead they’re more interested in smaller details, and situations, and characters. The sense of humor works in the film that way, too. It works from details, not from big gags or jokes, verbal or visual. Instead it’s humor of small details. – Jim Jarmusch on Stranger Than Paradise
(Source: iwanttobelikearollingstone)
lf:
Sanja Iveković - Personal Cuts. 1982. Video (black-and-white and color, sound), 3:35 min. The Museum of Modern Art, New York.
Arthur Lipsett’s first film is an avant-garde blend of photography and sound. It looks behind the business-as-usual face we put on life and shows anxieties we want to forget. It is made of dozens of pictures that seem familiar, with fragments of speech heard in passing and, between times, a voice saying, “Very nice, very nice.” It was critically acclaimed and plays frequently in festivals and film schools around the world.
Jochen Gerz - Rufen bis zur Erschöpfung, (1972) (excerpt, normally runs about 20 minutes and finishes with a closeup of Gerz’ face)
(Source: youtube.com)
Guy Debord - Hurlements en faveur de Sade (1952) (excerpt, full film here)
(Source: youtube.com)
