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e s reflections pun intended are remarkable but certainly coincidental haanstra was during his lifetime one of the netherlands most popular filmmakers more information on him can be found at bert haanstra nl ado kyrou wrote about mirror of holland in his article a dutch avant garde filmmaker bert haanstra which appeared in l âge du cinéma nº 6 many people still believe that the world is unchangeable that we perceive and only should perceive its bark commonly detailed by newspapers and so called realistic cinema bert haanstra knows that the real life that was so dear to rimbaud is made of sensitive mirrors behind the intrusions where the encounter of unknown sights will make us delve deeper into the knowledge of ourselves considering this it s easier to understand why kyrou praised haanstra for making a realistic film without special effects and superimpositions while at the same time designating him as an avant garde filmmaker kyrou also welcomed haanstra s next short film panta rhei for one thing because of the heraclitean implications of its title but also for being to his knowledge the first poetic illustration of d ialectics filed under uncategorized closed a forest afterimage 08may13 i never began by consulting the amusement pages to find out what film might chance to be the best nor did i find out the time the film was to begin i agreed wholeheartedly with jacques vaché in appreciating nothing so much as dropping into the cinema when whatever was playing was playing at any point in the show and leaving at the first hint of boredom of surfeit to rush off to another cinema where we behaved in the same way and so on andré breton as in a wood transl paul hammond from the shadow and its shadow nevertheless certain movie theaters in the tenth arrondissement seem to me to be places particularly intended for me as during the period when with jacques vaché we would settle down to dinner in the orchestra of the former théâtre des folies dramatiques opening cans slicing bread uncorking bottles and talking in ordinary tones as if around a table to the great amazement of the spectators who dared not say a word andré breton nadja 1928 night fell and trying to reach the others we got lost in a maze of sunken paths after calling in vain breton evoking one of his familiar fantasies that of a naked woman suddenly emerging from nothing started getting anxious a blinding flash strikes and illuminates in front of us a fantastic landscape followed immediately by a thunderclap that petrifies us breton in panic grabbed my hand she s there he tells me when another flash exposes the dark turn of the sunken path i feel it marcel duhamel raconte pas ta vie at the end of one afternoon last year in the side aisles of the electric palace a naked woman who must have come in wearing only her coat strolled dead white from one row to the next andré breton nadja 1928 surreality will depend on our will toward complete disorientation from everything and it goes without saying that you can disorient a hand by isolating it from its arm that this hand takes on more value as a hand and also that when speaking of disorientation we are not thinking only about its spatial possibilities things are called upon to do something other than what s usually expected andré breton notice to the hundred headless woman surrealist criticism extremely influential in france especially in film criticism is virtually absent in england where the poetry of pulp fiction is correspondingly infra dig the nearest equivalent to this interest is camp but this being essentially satirical is its diametrical opposite for reasons of puritanism and class snobbery alike english criticism in the good taste tradition has no terms still less antennae with which to discriminate between the sensitive and the insensitive use of pulp imagery raymond durgnat franju but one of the maladies of culture is the effort to smooth away the contradictions in it it s caught up in what marcuse criticises a kind of colonisation of the imagination a standardisation of it standardisation by good taste impoverishment by good taste freud breton marxism all help demystify that or should for obvious reasons i m interested in the plurality of moralities in our culture black bad meaning good artists who force you out of yourself raymond durgnat culture always is a fog largely neglected by the film criticism establishment most of the films discussed test the limits of contemporary middle class cultural acceptability mainly because in varying ways they don t meet certain standards utilized in evaluating direction acting dialogue sets continuity technical cinematography etc many of the films are overtly lower class or low brow in content and art direction however a high percentage of these works disdained by the would be dictators of public opinion are sources of pure enjoyment and delight despite improbable plots bad acting or ragged film technique at issue is the notion of good taste which functions as a filter to block entire ares of experience judged and damned as unworthy of investigations andrea juno victor vale incredibly strange films give me black and white subtitles and a tiny budget and i m impressed i really like snotty elitist theaters in new york like cinema iii my favorite because it s so comfortable and the ticket price is always expensive or the paris where if you ask for popcorn they look at you as if you re a leper asking for heroin and sneer really we don t have refreshments i m so used to audiences yelling back to the screen in grind houses that it s a real break to sit with a well behaved audience i never eavesdrop in these theaters because the conversations are generally maddeningly pretentious it s also a problem to laugh out loud at something only you may find funny especially if it s a german film germany is not ever funny to these audiences these cinema buffs are very touchy about humor and will turn around and scowl right in your face if they think you laugh is inappropriate guilty pleasures in crackpot the obsessions of john waters as a result of saying it can show anything cinema has abandoned its power over the imagination and like cinema this century is perhaps starting to pay a high price for this betrayal of the imagination or more precisely those who still have an imagination albeit a poor one are being made to pay that price chris marker a free replay notes on hitchcock s vertigo photo by weegee too bad i don t have the text available in its original french version if one consults the german translation in kämper tode chris marker filmessayist of the text one sees that one sentence is completely omitted from the english translation this and another divergence give a quite different edge to the quote here my slightly altered translation which corresponds to the german version as a result of saying it can show anything cinema has abandoned its power over the imagination see the two versions of cat people and like cinema this century is perhaps starting to pay a high price for this betrayal of the imagination or more precisely those who still have an imagination albeit a poor one are being paid very well addendum july 8 2014 a force de se raconter qu il peut tout montrer le cinéma a abdiqué ses pouvoirs dans l imaginaire voir les deux versions de cat people et tout comme le cinéma ce siècle est peut être en train de payer très cher cet abandon de l imaginaire ou plus précisément il est en train de le payer chèrement à ceux qui en ont encore un de très bas étage mais encore vivant the full article in french can be found at liminaire filed under uncategorized closed a forest pt 7 my delirium with andré 03apr13 you would always find me again says the sphinx nothing in the north well and he signed extinguish everything following a sinister vision don juan the twilight men they were meeting each other for the first time in the summer of 1935 man ray began the shooting of a film at lise deharme s country house in southern france the other participants were paul and nusch eluard jacqueline lamba and andré breton nothing remained from this attempt at simulating cinematographic delirium but the stills and captions above which appeared in the cahiers d art n 5 6 1935 in his autobiography man ray relates the course of events breton and eluard spent a day mapping out a scenario in which all were to take part there were sequences of the women strangely attired wandering through the house and in the garden a farmer s daughter nearby whom we d seen galloping across the country on a white horse without a saddle was persuaded to repeat the ride before my camera i would have liked to have her nude for the act but that was out of the question she was given a one piece white bathing suit which at a distance and in movement might produce the desired effect in one scene breton sits at a window reading a large dragonfly poised on his forehead but andré was a very bad actor he lost patience abandoned the role i don t blame him secretly i have always detested acting making believe the best part of the shot was the end where he got into a temper this was not acting after a few more sessions during which i was having trouble with my instrument for it jammed often losing half the takes i abandoned the operation to everyone s regret on our return to paris i salvaged what i could it looked promising but there was not enough fo a short man ray self portrait in 1964 jacques brunius director and highly gifted jack of all trades convinced producer pierre braunberger 1 to finance a documentary which would present the surrealist group from within robert benayoun joined in as screenwriter of le surréalisme as the project was entitled by now 2 edmond richard was hired as cinematographer and principal photography began in and around saint cirq lapopie where breton had a summer house several sequences were shot which evolved around group activities like the chase for agates 3 at the shores of the river lot a crayfish meal which included a happening of jean benoît and a game of l un dans l autre 4 in the woods but the shooting was strained robert benayoun had aspirations to co direct the film matters were further complicated by the fact that brunius an experienced director was used to carefully plan his shots and to film on schedule whereas newcomer benayoun had an improvisational approach there were also tensions among other participants mainly about everyone getting their share of screentime the resulting rushes seemed to please no one once again filming made breton lose his temper and nobody was willing to finish the film nevertheless the unedited footage still exists film archivist raymond borde managed to save it and put it into storage in the cinémathèque de toulouse 5 references raymond borde un film interrompu le surréalisme archives n 54 june 1993 paul hammond the shadow and its shadow 2000 jean pierre pagliano brunius 1987 screencaps from andré breton par andré breton by dominique rabourdin 1 one of the most important producers of the nouvelle vague pierre braunberger was on very good terms with breton interestingly for a short time he was co proprietor of the éditions du sagittaire in the publication cinemamemoire he claims to be responsible for the reedition of the anthology of black humor in 1950 2 brunius pursued this project since he was approached by the cinématheque française to make a film on surrealism for the mémoires du monde series an earlier title was le hasard objectif 3 when in 2003 breton s collection was sold at auctions in the hôtel drouot some commentators were surprised that besides his collection of art worth a several million euros he also held many objects in his possession which were hard to estimate to say the least like his collection of waffle irons holy water fonts and stones last year when we approached under a light rain a bed of stones that we had not yet explored along the lot the suddenness with which several agates which had an unusual beauty for the region caught our eyes convinced me that every further step would offer more beautiful ones and over a minute i had the perfect illusion to set foot in earthly paradise andré breton language of stones 4 it should be well known that the surrealists took playing very seriously the most famous surrealist game is certainly the exquisite corpse here a description of one into another one player withdraws from the room and chooses for himself an object or a person an idea etc while he is absent the rest of the players also choose an object when the first player returns he is told what object they have chosen he must now describe his own object in terms of the properties of the object chosen by the others making the comparison more and more obvious as he proceeds alaistair brotchie mel gooding a book of surrealist games in short inventing metaphors on the spot you could for example describe a lion s mane by means of a match flame see for a contemporary use of this principle the sweded films in michel gondry s be kind rewind 5 benayoun would later use some of the footage as well as ideas from his screenplay in the tv documentary passage breton filed under uncategorized 3 comments tags andré breton cinema edmond richard essai de simulation du délire cinématographique film jacques brunius l un à l autre le surréalisme lise deharme man ray paul eluard pierre braunberger raymond borde robert benayoun surrealism a forest pt 6 poison ivies crimes of passion 17mar13 in 1929 andré breton tried his hand together with albert valentin at a screenplay based on barbey d aurevilly s short story le rideau cramoisi the crimson curtain nothing came out of this project as they couldn t find a producer in 1953 alexandre astruc succeeded in making an adaptation of le rideau cramoisi for anatole dauman s company argos films it was released as part of a double feature with the similarly themed mina de vanghel under the title two crimes of love apart from minor quibbles concerning the faithfulness to its source materials breton was quite excited to see these stories come to the screen 1 in any case an exceptional opportunity two female figures who are among the most exciting what the genre has advanced up till now are happening to be incarnated in quick succession mina de vanghel and the heroine of the crimson curtain never more beautiful nor more dangerous creatures have been set before our eyes carrying with them all the shadows and all the scents of the jungle endowed with that inner fire that was given to them by stendhal and barbey they make the classic screen vamp appear insubstantial rendering her harmless and insignificant a famous gulp of poison médium n 7 mai 1953 the enigmatic female protagonists of the above mentioned stories represent a curious blend of femme enfant and femme fatale this kind of ambiguity in which the symbols of good and evil are entwined and equivocally confused 2 is also typical for the figures in gustave moreau s paintings abou...