A 1984 interview with Straub/Huillet, from Cahiers du Cinema Issue 364, reposted at Kino Slang
Bresson isn’t crazy
Occupy Wall Street Projects Msg Onto Verizon Building
Virtue-rights
“Power is an educational system that divides us into subjects and subjected. Nevertheless, it is an educational system that forms us all, from the so-called ruling class all the way down to the poorest of us. That¹s why everyone wants the same things and everyone acts in the same way. If I have access to an administrative council or a Stock Market maneuver, that¹s what I use. Otherwise I use a crowbar. And when I use a crowbar, I¹ll use whatever means to get what I want. Why do I want it? Because I¹ve been told that it is a virtue to have it. I am merely exercising my virtue-rights. I am a murderer but I am a good person.” - Pasolini, in his last interview.
America, 2011.
The Return
The camera must give itself completely and wholly to its subject, yet it cannot give itself away to its subject. When a filmmaker is fully and selflessly present, the audience becomes fully and selflessly present. The filmmaker’s physical relationship to the world manifests as the camera’s relationship to the image and becomes the audience’s relationship to the screen. To the degree that a filmmaker can relate directly to the heart of an object, the viewer will also connect directly to the heart of the object. The audience will see the screen as the camera sees objects, and a great unity of heart will take place between filmmaker and audience
- Nathaniel Dorsky, from “Devotional Cinema.” Inspired to repost this after seeing Dorksy’s dynamic, nocturnally-lit new film THE RETURN, quite possibly my favorite American film of the year.
Occupy Wall Street, 1 October 2011, GA (General Assembly) speech before the march.