tag:blogger.com,1999:blog-16281192134657237682024-03-05T19:53:47.674-08:00AU HASARDAU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.comBlogger13125tag:blogger.com,1999:blog-1628119213465723768.post-89422097388194018952012-03-30T09:36:00.001-07:002012-03-30T17:18:51.016-07:00AU HASARD - SEASON II<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Georgia,"Times New Roman",serif;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim-q_dW5Ja5AhSBU5k52ato6FDL4rqH1FhRc9GywjN0mfZH2lJ7saLXalBrycZ1RF1N9tTxJXq0VveUfvcu517NUKqEJFIsrldsty9OhC-zEzQST1L76JlnYKuTdsRf4xlwlBCUDC6FrTT/s1600/AHS2+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim-q_dW5Ja5AhSBU5k52ato6FDL4rqH1FhRc9GywjN0mfZH2lJ7saLXalBrycZ1RF1N9tTxJXq0VveUfvcu517NUKqEJFIsrldsty9OhC-zEzQST1L76JlnYKuTdsRf4xlwlBCUDC6FrTT/s320/AHS2+copy.jpg" width="226" /></a></div><br />
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">SEASON II: <i>NOW IS THE TIME FOR VIOLENCE </i></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">We'll be showing films every Wednesday evening in April at the:</span><br />
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><b><i>Chapel Cinema </i></b></span><br />
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><b><i>21 Old Ford Road, Bethnal Green, E2 9PL</i></b></span><br />
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">entrance through the Gallery Cafe. </span><br />
<br />
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">Free and open to all.<br />
<br />
Wednesday 4th April - 8pm </span><span style="font-family: arial, helvetica, sans-serif; font-size: small;"><br style="font-family: Georgia,"Times New Roman",serif;" /><span style="font-family: Georgia, 'Times New Roman', serif;"><i> Germany in Autumn, Directed by Fassbinder et al </i></span></span><br />
<span style="font-family: arial, helvetica, sans-serif; font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">(West Germany, 1978 119mins) </span><br />
<br />
<span style="font-family: Georgia, 'Times New Roman', serif;">Wednesday 11th April - 6.30pm</span></span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"> (it's long!)</span> </div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;"><i>Eros + Massacre, Directed by Yoshishiga Yoshida </i></span></span><br />
<span style="font-size: small;"><span style="font-family: Georgia, 'Times New Roman', serif;">(Japan, 1969, 202 mins)</span><br style="font-family: Georgia,"Times New Roman",serif;" /><br />
Wednesday 18th April - </span><span style="font-size: small;"> 8pm</span> </div><span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><i>The Confrontation, Directed by Miklós Jancsó </i></span><br />
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">(Hungary, 1968, 82 mins)<br />
<br />
Wednesday 25th April - 8pm </span><span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><br />
<i> Now is the Time for Violence, Directed by Enrique Juarez </i></span><br />
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">(Argentina, 1969, 43 mins)<br />
and<br />
<i> Strike, Directed by Sergei Eisenstein </i></span><br />
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">(USSR, 1925, 82 mins)</span></div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-65035418262340241332012-03-25T15:55:00.000-07:002012-03-25T15:55:57.403-07:00P.P.P<div dir="ltr" style="text-align: left;" trbidi="on">Pier Paolo Pasolini.<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/VCBOYYu4awU?feature=player_embedded' frameborder='0'></iframe></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Alain Badiou: Destruction,Negation,Subsraction-on Pier Paolo Pasolini </div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: xx-small;"><span style="font-family: Georgia, 'Times New Roman', serif;">(</span><em style="font-family: Georgia, 'Times New Roman', serif; line-height: 1em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Art Center College of Design in Pasadena.</em><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 1em;"> </span><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 1em;">February 2007)</span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: xx-small;"><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 1em;"><br />
</span></span></div><i><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">The abstract contents of my lecture is a very simple one. I can summarize it in five points:</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">1. All creations, all novelties, are in some sense the affirmative part of a negation. "Negation", because if something happens as new, it cannot be reduced to the objectivity of the situation where it happens. So, it is certainly like a negative exception to the regular laws of this objectivity. But "affirmation", affirmative part of the negation, because if a creation is reducible to a negation of the common laws of objectivity, it completely depends on them concerning its identity. So the very essence of a novelty implies negation, but must affirm its identity apart of the negativity of negation. That is why I say that a creation or a novelty must be defined paradoxically as an affirmative part of negation.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">2. I name "destruction" the negative part of negation. For example, if we consider the creation by SchÏnberg, at the beginning of the last century, of the dodecaphonic musical system, we can say that this creation achieves the destruction of the tonal system, which, in the western world has dominated the musical creation during three centuries. In the same direction, the Marxist idea of revolution is to achieve the process of immanent negation of capitalism by the complete destruction of the machinery of bourgeois State. In both cases, negation is the evental concentration of a process through which is achieved the complete disintegration of an old world. It is this evental concentration which realizes the negative power of negation, the negativity of negation. And I name it destruction.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">3. I name subtraction the affirmative part of negation. For example, the new musical axioms which structure for SchÏnberg the admissible succession of notes in a musical work, outside the tonal system, are in no way deducible from the destruction of this system. They are the affirmative laws of a new framework for the musical activity. They show the possibility of a new coherence for musical discourse. The point that we must understand is that this new coherence is not new because it achieves the process of disintegration of the system. The new coherence is new to the extent that, in the framework that the SchÏnberg's axioms impose, the musical discourse avoids the laws of tonality, or, more precisely, becomes indifferent to these laws. That is why we can say that the musical discourse is subtracted from its tonal legislation. Clearly, this subtraction is in the horizon of negation ; but it exists apart from the purely negative part of negation. It exists apart from destruction.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">It is the same thing for Marx in the political context. Marx insists on saying that the destruction of the bourgeois State is not in itself an achievement. The goal is communism, that is the end of the State as such, and the end of social classes, in favour of a purely egalitarian organization of the civil society. But to come to this, we must first substitute to the bourgeois State a new State, which is not the immediate result of the destruction of the first. In fact, it is a State as different of the bourgeois State as experimental music of today can be of an academic tonal piece of the 19th century, or a contemporary performance can be of an academic representation of Olympic Gods. For the new State - that Marx names "dictatorship of the proletariat" - is a State which organizes its own vanishing, a State which is in its very essence the process of the non-State. Perhaps as for Adorno the "informal music" is the process, in a work, of the disintegration of all forms. So we can say that in the original thought of Marx, "dictatorship of the proletariat" was a name for a State which is subtracted from all classical laws of a "normal" State. For a classical State is a form of power; but the State named "dictatorship of proletariat" is the power of un-power, the power of the disappearance of the question of power. In any case we name subtraction this part of negation which is oriented by the possibility of something which exists absolutely apart from what exists under the laws of what negation negates.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">4. So negation is always, in its concrete action - political or artistic - suspended between destruction and subtraction. That the very essence of negation is destruction has been the fundamental idea of the last century. The fundamental idea of the beginning century must be that the very essence of negation is subtraction.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">5. But subtraction is not the negation of destruction, no more than destruction has been the negation of subtraction, as we have seen with SchÏnberg or Marx. The most difficult question is precisely to maintain the complete concept of negation from the point of view of subtraction, as Lenin, Schoenberg, or Marcel Duchamp, or Cage, or Mao Zedong, or Jackson Pollock have maintained the complete concept of negation from the point of view of destruction.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">To clarify the very complex interplay between destruction, negation and subtraction, I propose to read with you a fragment of a magnificent poem of Pier Paolo Pasolini.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">Pasolini is well known as a filmmaker; in particular he has directed during the sixties and the seventies profound contemporary visual readings of the two great western intellectual traditions: the ancient Greeks with movies like</span><span style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">Medea</span><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;"> and </span><span style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">Oedipus</span><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">, and the judo Christianity with </span><span style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">The Gospel According to Saint Matthew</span><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;"> and a very complex script about the life of Saint Paul. All that constitutes a difficult thinking of the relationship between History, Myths and Religion. Pasolini was simultaneously a revolutionary Marxist and a man for ever influenced by his religious childhood. So his question was: is the revolutionary becoming of History, the political negativity, a destruction of the tragic beauty of the Greek Myths and of the peaceful promise of Christianity? Or do we have to speak of a subtraction where an affirmative reconciliation of Beauty and Peace becomes possible in a new egalitarian world?</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">Pasolini is also well known for the relationship between his private life and his public convictions. Not only he was gay, but this was a part of his political vision, many years before the beginning of the gay and lesbian movement. He perfectly knew that the desire - and in its own case, the desire for young poor workers of the suburbs of Rome - is not independent of our ideological choices. Once more, the question is to inscribe sexual desire in the political negativity not as a purely subversive and destructive feature, but as a creative displacement of the line which separates the individual subjectivity from the collective one.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">Pasolini has been murdered in November 1975. He was 53 years old. The circumstances of this horrible murder are still obscure today. But certainly they are exactly at the point where political determinations are linked with sexual situations. It is this point which has been for Pasolini a constant source of new truths, but also an existential tragedy.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">Marvellous movies, political commitments, critical essays, great novels, new existential style... Beyond all that, Pasolini is the greatest poet of his generation. We can distinguish three major poetical collections.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">1. The poems written when Pasolini was twenty years old, in a specific Italian dialect, the Frioulan one. Her we have the attempt to subtract poetry to the authority of official Italian language and to use a popular language against the State language. It is a characteristic example of what Deleuze names "minoritarian politics" in Poetry.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">2. The great collection published in 1957, the heart of which is the magnificent poem, </span><span style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">The Ashes of Gramsci</span><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">, a complex meditation concerning history, Marxist ideology, Italian landscape and personal feelings... The title is in itself a metaphor of melancholic negation. Gramsci, the Master, the Father of Italian Marxism is here like dissipated in the History's dust.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">3. The two collections of the beginning of the sixties: </span><span style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">The Religion of My Time</span><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;"> (1961) and </span><span style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">Poetry in From of a Rose</span><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;"> (1964). We have here the context of the fragment I shall explain today. Fundamentally, it is the bitter disappointment of Pasolini, concerning the practices of the Italian left. And more precisely, two very serious failures of the Communist Party, first, an infidelity to the armed struggle of thousands of young men, against fascism and Nazism during the war. Second, the Communist Party is unable to organize the revolt of thousands of young workers in the suburbs of Italian towns.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">So we have here a double negation of popular young people. In the past, where their fighting is forgotten; in the present, where their revolt is despised. But Pasolini has two very important reasons for being passionately interested in the existence and the struggles of young people. First his younger brother, Guido, has been killed in fighting during the war as a partisan, a resistant fighter. And the terrible problem is that he has been killed not by fascists, but by communists of an other country, Yugoslavian communists, because of the rivalry between Italians and Yugoslavians concerning the control of some border regions. Second, as a gay, Pasolini has always had real and constant relationship with very poor young workers, or with unemployed of the suburbs. That is why many poems of Pasolini speak of the contradiction between History, politics and concrete existence of proletarian youth.</span><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><br style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;" /><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">We shall first listen to one of theses poems. It is a fragment of a very long poem, </span><span style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">Vittoria</span><span style="font-family: Arial; font-size: 12px; text-align: -webkit-auto;">.</span></i><br />
<div style="font-family: Arial; font-size: 12px; padding-bottom: 10px; padding-left: 0px; padding-right: 0px; padding-top: 10px; text-align: -webkit-auto;"></div><blockquote style="font-family: Arial; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;"><div style="padding-bottom: 10px; padding-left: 0px; padding-right: 0px; padding-top: 10px;"><i>"All politics is Realpolitik," warring<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />soul, with your delicate anger!<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />You do not recognize a soul other than this one<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />which has all the prose of the clever man,<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />of the revolutionary devoted to the honest<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />common man (even the complicity<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />with the assassins of the Bitter Years grafted<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />onto protector classicism, which makes<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />the communist respectable): you do not recognize the heart<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />that becomes slave to its enemy, and goes<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />where the enemy goes, led by a history<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />that is the history of both, and makes them, deep down,<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />perversely, brothers; you do not recognize the fears<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />of a consciousness that, by struggling with the world,<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />shares the rules of the struggle over the centuries,<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />as through a pessimism into which hopes<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />drown to become more virile. Joyous<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />with a joy that knows no hidden agenda,<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />this army-blind in the blind<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />sunlight-of dead young men comes<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />and waits. If their father, their leader, absorbed<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />in a mysterious debate with Power and bound<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />by its dialectics, which history renews ceaselessly-<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />if he abandons them,<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />in the white mountains, on the serene plains,<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />little by little in the barbaric breasts<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />of the sons, hate becomes love of hate,<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />burning only in them, the few, the chosen.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Ah, Desperation that knows no laws!<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Ah, Anarchy, free love<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />of Holiness, with your valiant songs!</i></div></blockquote><div style="font-family: Arial; font-size: 12px; padding-bottom: 10px; padding-left: 0px; padding-right: 0px; padding-top: 10px; text-align: -webkit-auto;"><i>To have an overview of this fragment we can say something like that: Everybody is saying that politics must be realistic, that all ideological illusions have been proved dangerous and bloody.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />But what is the real for politics? The real is History. The real is the concrete becoming of struggle and negation. But how is it possible to understand or know History? We can do that if we know the rules of History, the great laws of becoming. It is the lesson of Marxism.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />But are not the laws of History the same for us and for our enemies? And if it is the case, how can negation be distinguished from approval?<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />We are in the situation where destruction being suppressed, the subtraction itself, the opposition, if you want, becomes complicity. As Pasolini writes: we recognize that we are going exactly where the enemy goes, "led by a History that is the history of both". And political hope is impossible.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />So, if the young dead of the last war could see the present political situation they would not agree with this complicity. Finally, they cannot accept their political fathers, the leaders of Communist Party. And they become by necessity barbarian and nihilistic people, exactly like the young unemployed of the suburbs.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />The poem is a manifesto for true negation.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />If subtraction is separated from destruction, we have as result Hate and Despair. The symbol of this result is the fusion of the dead heroes of the last war with the despised workers of our suburbs in a sort of terrorist figures. But if destruction is separated from subtraction, we have as result the impossibility of politics, because young people are absorbed in a sort of nihilistic collective suicide, which is without thinking and destination. In the first case, fathers, who are responsible for the emancipatory political orientation, abandon their sons on behalf of the real. In the second case, sons, which are the collective strength of a possible revolt, abandon their fathers on behalf of Despair.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />But emancipatory politics is possible only when some fathers and mothers and some sons and daughters are allied in an effective negation of the world as it is.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Some remarks.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />1. The whole beginning: under the idea of "Realpolitik" we have something like a negation without destruction. I define this: "opposition", in the common democratic sense. Like democrats against Bush. We find two excellent definitions of this sort of negation: "the prose of the clever man" and "protector classicism". You will note that in both cases, the comparison is with artistic conservative style.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />2. The "bitter years" are the years of the war, which have been also largely, in Italy, a civil war.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />3. The heart of "opposition" is to substitute some rules to the violence of the real. In my jargon, I can say: to substitute rules of history, or rules of economy, to rupture of Event. And when you do that, you "share the rules of the struggle" with your enemy. And finally you become "slave of your enemy", a "brother" of your enemy.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />4. In this context, Pasolini has a sort of magnificent and melancholic vision. The army of dead young men of the last war, and among them certainly his younger brother Guido, is coming to see their father, their leader. That is in fact the revolutionary leaders of today. This army, "blind in the blind sunlight" comes and waits "in the white mountains, on the serene plains". And they see their father, their leader, absorbed in the very weak form of negation, the dialectical negation; This negation is not apart from the power. This negation is only an obscure relationship to the power itself. It is "a mysterious debate with Power". So the father is in fact without freedom, he is "bounded" by the dialectics of power.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />5. The conclusion is that this father "abandons them". You see the problem, which is clearly a problem of today. The army of dead young men was on the side of destruction, of hate. They existed on the hard side of negation. But they wait for an orientation, for a negation which, under some paternal law, reconciles destruction and subtraction.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />But contemporary leaders abandon them. So they have only the destructive part of negation. They have only "Desperation that knows no laws!"<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />6. And the description of their subjectivity is quite an expressive one. Yes, they were on the side of hate, of destruction. They were "angry young men". But now, it is a very striking formula, "hate becomes love of hate". This love of hate is negation as purely destructive; Without an access to subtraction without fathers, or leaders, we have to face the nudity of "the barbaric breasts of the sons".<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />7. Great poetry is always an anticipation, a vision, of the collective future. We can see here that Pasolini describes the terrorist subjectivity. He indicates with an astonishing precision that the possibility of this subjectivity among young men or women is the lack of any rational hope of changing the world. That is why he creates a poetical equivalence between Desperation (the nihilistic consequence of false negation), Anarchy (the purely destructive political version) an "free love of Holiness", which is the religious context of terrorism, with the figure of the martyr. This equivalence is certainly clearer today than it was forty years ago, when Pasolini wrote <span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Victory</span>.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />We can now conclude: the political problems of the contemporary world cannot be solved, neither in the weak context of democratic opposition, which in fact abandons millions of people to a nihilistic destiny, nor in the mystical context of destructive negation, which is an other form of power, the power of death. Neither subtraction without destruction, nor destruction without subtraction. It is in fact the problem of violence today. Violence is not, as has been said during the last century the creative and revolutionary part of negation. The way of freedom is a subtractive one; But to protect the subtraction itself, to defend the new kingdom of emancipatory politics, we cannot radically exclude all forms of violence; The future is not on the side of the savage young men and women of popular suburbs, we cannot abandon them to themselves. But the future is not on the side of the democratic wisdom of mothers and fathers law. We have to learn something of nihilistic subjectivity.<br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />The world is made not of law and order, but of law and desire. Let us learn from Pasolini not to be "absorbed in a mysterious debate with power", not to abandon millions of young men ands women neither "in the white mountains", nor "on the serene plains". "</i></div></div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-19972955317741720642012-03-25T13:13:00.000-07:002012-03-25T13:13:16.613-07:00AU HASARD VI - MUTINY - SAURDAY 31ST MARCH<div dir="ltr" style="text-align: left;" trbidi="on"><i><span style="background-color: #f3f3f3; font-family: Georgia, 'Times New Roman', serif; line-height: 20px;">'The very forms of organization of the struggle will suggest... a different vocabulary - Brother, sister, friend.' Franz Fanon</span> </i><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSgeM2lpnRi2l7cNTevroYb4LPE_PXYnIqtbnTnggX_dqJW96sYhWDPCPVP71cgeuGdcEEwW5B2jlI7zsh2cierGCASnXOKN0aHDFFs8MC2wMoyg2x3Lt9zTgwJ4Xj7xVW-vbJg4CqcuOI/s1600/AH3103+1+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSgeM2lpnRi2l7cNTevroYb4LPE_PXYnIqtbnTnggX_dqJW96sYhWDPCPVP71cgeuGdcEEwW5B2jlI7zsh2cierGCASnXOKN0aHDFFs8MC2wMoyg2x3Lt9zTgwJ4Xj7xVW-vbJg4CqcuOI/s320/AH3103+1+copy.jpg" width="226" /></a></div><br />
<div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><span style="color: black; font-family: Georgia, 'Times New Roman', serif;">1pm</span></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia, 'Times New Roman', serif;"><i>Kanal</i></span></b></div><div style="background-color: #f3f3f3; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><span style="font-family: Georgia, 'Times New Roman', serif;"><i>Directed<b> </b></i><span style="color: #191919;">by Andrzej Wajda (Poland, 1956, 95 mins)</span></span></div><div style="background-color: #f3f3f3; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 13px; line-height: 20px; margin-bottom: 0cm;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><span style="color: #191919;"><br />
</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-5X8XU4T8cK3MI9OMITEoLHw8XYNCAMaCSrpi6ncO2ztxuwfTogRafmjVLhOLmcX_EcANOQKm0F9Rrf9ny5a97n8N46Rnb9l4HT889RgDR46DwRZTqbiofDTGZQnMU7O6Qfb7tY_6Uod_/s1600/kanal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-5X8XU4T8cK3MI9OMITEoLHw8XYNCAMaCSrpi6ncO2ztxuwfTogRafmjVLhOLmcX_EcANOQKm0F9Rrf9ny5a97n8N46Rnb9l4HT889RgDR46DwRZTqbiofDTGZQnMU7O6Qfb7tY_6Uod_/s320/kanal.jpg" width="220" /></a></div><div style="background-color: #f3f3f3; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><div class="post-body entry-content" id="post-body-993614186089672778" style="color: #191919; line-height: 1.6em; margin-bottom: 0.75em; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div dir="ltr" trbidi="on"><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia, 'Times New Roman', serif;">3.00pm</span></div><div style="margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia, 'Times New Roman', serif;"><i>The Battle of Algiers</i></span></b></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia, 'Times New Roman', serif;">Directed by Gillo Pontecorvo (Algeria, 1966, 121 mins)</span></div><div style="font-size: 13px; margin-bottom: 0cm;"><span style="color: black; font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><br />
</span></div><div class="separator" style="clear: both; font-size: 13px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj830OAPWgdTuYF8idOYMJ24uCAL2XDsYqK-3Y4vrK2rfE5IRPeMzYK0Hs4RydNbGINAWakNiKPoRMT6WzbeIpLlc-vorWedoeWBv_j-4G3fiWBQqfXyYrr7D1yK612kKNoLVC6U5YCbnPt/s1600/BOA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj830OAPWgdTuYF8idOYMJ24uCAL2XDsYqK-3Y4vrK2rfE5IRPeMzYK0Hs4RydNbGINAWakNiKPoRMT6WzbeIpLlc-vorWedoeWBv_j-4G3fiWBQqfXyYrr7D1yK612kKNoLVC6U5YCbnPt/s320/BOA.jpg" width="231" /></a></div><div style="font-size: 13px; margin-bottom: 0cm;"><span style="color: black; font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><br />
</span></div></div><div style="clear: both; font-size: 13px;"></div></div><div class="post-footer" style="color: #999999; font-family: 'Trebuchet MS', Trebuchet, Arial, Verdana, sans-serif; font-size: 10px; letter-spacing: 0.1em; line-height: 1.4em; margin-bottom: 0.75em; margin-left: 0px; margin-right: 0px; margin-top: 0.75em; text-transform: uppercase;"><br class="Apple-interchange-newline" /></div></div><br class="Apple-interchange-newline" /></div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-41046133130344302192012-03-12T07:45:00.004-07:002012-03-14T07:14:52.454-07:00AU HASARD V - CHILDHOOD - SATURDAY 17TH MARCH<div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black;">V. CHILDHOOD - Saturday 17th March</span></span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt6HCDnyTWwmd4eIAO4UTPhgUr3ubE0LlKbleorhV1wMan68jcNkUFXR4631A2CnHdun1tQHm6uxlMhZCKGT-uYRCXrDKxZFmRgmqnapOXE1gEY19YjOoE-9eGn416cjrlNDuaGbHigCxA/s1600/AH1703.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt6HCDnyTWwmd4eIAO4UTPhgUr3ubE0LlKbleorhV1wMan68jcNkUFXR4631A2CnHdun1tQHm6uxlMhZCKGT-uYRCXrDKxZFmRgmqnapOXE1gEY19YjOoE-9eGn416cjrlNDuaGbHigCxA/s400/AH1703.jpg" width="282" /></a></div><br />
<span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black;"></span></span>Birkbeck, Main Building, Room B18, Malet Street, WC1E 7HX</span><br />
<span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black;"><br />
</span></span></span><br />
<span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black;">Oh hours of childhood, <br />
when behind each shape more than the past appeared <br />
and what streamed out before us was not the future.' </span> </span></span><br />
<div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;">Rainer Maria Rilke</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;">1pm</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><i>Zero For Conduct</i></span></b></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;">Directed by Jean Vigo (France, 1933, 41 mins)</span></span></div><div style="margin-bottom: 0cm;"></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifxo8q3mNlasdbMamYmD0F1vWa9rtWokQzRyg5J5lgiVP7BwI3WkEplRMvYazoWUJxY9ahHNoUu1xMJS78LvgaNfjUp8UJv0VvhVHWtX-jy-PrJWYpUZDkIFpC_gfO9UQw6YpuDReTppf9/s1600/0deconduit.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifxo8q3mNlasdbMamYmD0F1vWa9rtWokQzRyg5J5lgiVP7BwI3WkEplRMvYazoWUJxY9ahHNoUu1xMJS78LvgaNfjUp8UJv0VvhVHWtX-jy-PrJWYpUZDkIFpC_gfO9UQw6YpuDReTppf9/s320/0deconduit.jpg" width="227" /></a></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span><br />
<span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span><br />
<span style="font-family: Georgia,'Times New Roman',serif;">1.50pm</span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black;"><b><i>Le Révélateur</i></b> </span> </span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black;">Directed by Philippe Garrel (France, 1968, 67 mins) </span></span></span></div><div style="margin-bottom: 0cm;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1SM6nqJ_qmSuuMN4OMK5AySQ914YpeFJWLkvSXzAG_RZMpzBW0dRTEcArUHafPA1qnWAhDkGmOAzJg6qfvzLk6moIFceYxgtbc-8ybWpEjztYHdsbhNOftL6uRrthyXBpHkSQCzi-e1rj/s1600/rev_c.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1SM6nqJ_qmSuuMN4OMK5AySQ914YpeFJWLkvSXzAG_RZMpzBW0dRTEcArUHafPA1qnWAhDkGmOAzJg6qfvzLk6moIFceYxgtbc-8ybWpEjztYHdsbhNOftL6uRrthyXBpHkSQCzi-e1rj/s320/rev_c.jpg" width="206" /></a></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black;"> </span> </span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><br />
</span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;">3.15pm</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><i>Viva La Muerte</i></span></b></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;">Directed by Fernando Arrabal (France, 1971, 90 mins)</span></span></div><div style="margin-bottom: 0cm;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIxW3Y5erZWw3cQ-GH0NSMY6clOyjpGOLldWce43BysitGPkzRb5URXvnOW2YHlvjWxS7It2dy2vwXBRZEAZHDC2ZU-2KKd6b32szyxLAfz3vMs1zr0yBrGWj2v3HoTq113H3ZKazuSoRa/s1600/viva-la-muerte.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIxW3Y5erZWw3cQ-GH0NSMY6clOyjpGOLldWce43BysitGPkzRb5URXvnOW2YHlvjWxS7It2dy2vwXBRZEAZHDC2ZU-2KKd6b32szyxLAfz3vMs1zr0yBrGWj2v3HoTq113H3ZKazuSoRa/s320/viva-la-muerte.jpg" width="250" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div style="margin-bottom: 0cm;"></div></div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-21183876617096797042012-02-23T02:59:00.000-08:002012-02-23T02:59:39.001-08:00Peter Weiss - The Aesthetics of Resistance<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cgileOvlfgblhvSbrHa9YunYNKl_87mKNBqWhErji8rTAM6nJAjLgmKvv7blzaH3V8w89ZW3_yslQ7fmbZLiXFq1kOzvY4FsnZcXvwEfBzYmcq9STyz39QuwnuSS4SBwAu8AZBo2cfZv/s1600/aor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cgileOvlfgblhvSbrHa9YunYNKl_87mKNBqWhErji8rTAM6nJAjLgmKvv7blzaH3V8w89ZW3_yslQ7fmbZLiXFq1kOzvY4FsnZcXvwEfBzYmcq9STyz39QuwnuSS4SBwAu8AZBo2cfZv/s1600/aor.jpg" /></a></div><br />
<br />
Peter Weiss, author of <i>Marat/Sade</i>, on reading Dante (from <i>The Aesthetics of Resistance</i>): <br />
<br />
<br />
The Divina Commedia was as unsettling, as rebellious, and in form and theme apparently as remote from anything familiar as was Ulysses...What was happening here, we had been wondering since the<br />
summer of this year after starting our trip into the strange upside-down dome sunken into the earth, with its circles coiling deeper and deeper, trying to take an entire lifetime, whereas after the complete passage they promised ascent, likewise in rings, to heights beyond imagining. We had come no further than Francesca da Rimini...Forging ahead from the linguistic imprecisions, the smoothened metaphors, the lost rhythms and melodies of the outer layer and plunging into the internal dynamics of an everlasting fire, we felt things awakening within us, experiences we had never known about,<br />
laid out inside us and now made operative only through poetry...we tried to break every association down thoroughly into its components, but the conversations about the forest that we entered with the<br />
wanderer lasted for weeks, and later we often harked back to them, aware of having grasped only a few motifs of that canto. The depiction of the overall enterprise ran simultaneously with the motion of<br />
groping one's way toward a specific place that could not be found in the world of perceptions and whose entrance and forecourt were described as concretely as the dark woods with their animals, their<br />
topographic features, and their light slowly oozing forth. The opening lines already made it sound as if anything portrayed here could not really be expressed in words and images, and as the impossible then<br />
moved from verse to verse, section to section, in a consistent articulation steadily accompanied by marginal numbers, knitting together into a stable, harmonious unity that could not be pictured in<br />
any other way, it clarified the triumph of the imagination over chaos, misguidance, and absolute certainty. It revealed not only the path into the spiritual structure of the inferno, where the raw material of an epoch concentrated into a subjective vision, but also the step into the mechanism of artistic labour. The approach to art was linked to the thought of death. The writer of the poem found himself at the mid-point of his life, yet in his work he had not only put himself in the hands of a dead man, he encountered only the dead. Upon setting out he had placed himself in the vicinity of death, he was still breathing, but filled with demise, he contained the mirroring of those who now possessed nothing, and thus, in pondering what they had given him, what survived in him alone, when he penetrated the regions in which as was natural, at most only his skeleton could be found, he<br />
felt as if he too were perishing. We could compare the start of the journey to somnolence, we were familiar with the abrupt sagging of something within reach, the start of a dream, the moments when the grab-hook dangling from the crane might hit your skull, the drive belt of the machine might rip off your arm, or at night, at dawn, when you could not tell whether the room you were in was part of a dream or whether the dream pounced on your room, and in this intermediate stage, cloaked by heavy fatigue yet able to see and hear something, searching for thoughts to transform surfacing palpable things into objects, he put letters on paper...</div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-26248344159283393262012-02-20T03:35:00.002-08:002012-02-23T02:33:35.658-08:00AU HASARD IV - SADE - SATURDAY 10TH MARCH<div dir="ltr" style="text-align: left;" trbidi="on">IV. SADE - Saturday 10th March<br />
<span style="color: red;">***note change of date***</span><br />
<div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhax9W0W48PEqlHaN7fvOA4F5psYrGm8QPQmEHoHtUe2DMaTgzfDmZEfyFe_ouKh8r7wObHg0VIcsc4oxabRbAiaSpVv07DRfMfCWFm0eO85HwpXM5PJklhxsVlyr9aMHcJmSbgbcvCWvDj/s1600/AH0303+copy-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhax9W0W48PEqlHaN7fvOA4F5psYrGm8QPQmEHoHtUe2DMaTgzfDmZEfyFe_ouKh8r7wObHg0VIcsc4oxabRbAiaSpVv07DRfMfCWFm0eO85HwpXM5PJklhxsVlyr9aMHcJmSbgbcvCWvDj/s400/AH0303+copy-1.jpg" width="282" /></a></span></div><br />
<br />
Birkbeck, Main Building, Room B18, Malet Street, WC1E 7HX<br />
<br />
'What De Sade was trying to bring to the surface of the conscious mind was precisely the thing that revolted that mind... From the very first he set before consciousness things which we could not tolerate.' <br />
Georges Bataille<br />
<br />
1pm<br />
Marat/Sade (The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade)<br />
Directed by Peter Brook (UK, 1967, 116 mins)<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18p_0lDfMVt2bA_FdT4wtaaDE128ytJ1S_lJU1V2flWbFj7VUw5HMKGA4Ftenz7fv2C_rBd7frpGQpxdOYLJBDqDu7XQ3Fd1N_D4z5uHroMDJEgzgYnLvBsWd9EiYZZoqQAomYrTyXQVe/s1600/MPW-26413.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18p_0lDfMVt2bA_FdT4wtaaDE128ytJ1S_lJU1V2flWbFj7VUw5HMKGA4Ftenz7fv2C_rBd7frpGQpxdOYLJBDqDu7XQ3Fd1N_D4z5uHroMDJEgzgYnLvBsWd9EiYZZoqQAomYrTyXQVe/s320/MPW-26413.jpg" width="320" /></a></span></div><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
3pm<br />
Salò, or the 120 Days of Sodom<br />
Directed by Pier Paulo Pasolini (Italy, 1975, 116 mins)<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGUzv_W9waLTByyAedOrbPJkJuGiQgl6l-SbJTaZogiE997F-X86tx2E2Eem-w_CGS9h52saSbgP4xjtrBl3ao0x5OAYye2vL4AwO5-Ij9Dkd4fmG0KT95zxyBHwH4XovKI4Uvveomdm_z/s1600/salo00.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGUzv_W9waLTByyAedOrbPJkJuGiQgl6l-SbJTaZogiE997F-X86tx2E2Eem-w_CGS9h52saSbgP4xjtrBl3ao0x5OAYye2vL4AwO5-Ij9Dkd4fmG0KT95zxyBHwH4XovKI4Uvveomdm_z/s320/salo00.jpg" width="320" /></a></span></div><br />
<br />
</div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-1853269323846848262012-02-05T08:16:00.000-08:002012-02-05T08:16:24.883-08:00AU HASARD III - SUBMISSION - SATURDAY 18TH FEBRUARY<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdOZdl0hlCAS-bfGbVjUbrevv3gOsNTQ6gkmv9TpJX9BUGd1CKNSaqm41dzc7teVduwXVjGDePUE_sSGyJjIXh97LbZmr7xpfPPcAMsdtpLyUKiUbKmldwKCg-NvWj_FjNlE0DSndvy3p/s1600/AH1802+3+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdOZdl0hlCAS-bfGbVjUbrevv3gOsNTQ6gkmv9TpJX9BUGd1CKNSaqm41dzc7teVduwXVjGDePUE_sSGyJjIXh97LbZmr7xpfPPcAMsdtpLyUKiUbKmldwKCg-NvWj_FjNlE0DSndvy3p/s400/AH1802+3+copy.jpg" width="282" /><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: x-small;"> </span></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" dir="rtl" style="clear: both; text-align: left;"><br />
</div><div dir="rtl" style="margin-bottom: 0cm; text-align: left;"><span style="font-family: Georgia, 'Times New Roman', serif;"></span></div><div dir="rtl" style="margin-bottom: 0cm; text-align: left;"><span style="font-family: Georgia,'Times New Roman',serif;">'<i>Every good servant does not all commands</i>'</span></div><div dir="rtl" style="margin-bottom: 0cm; text-align: left;"><span style="font-family: Georgia,'Times New Roman',serif;">William Shakespeare<br />
</span></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"><br />
<span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;">1pm</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><i>The Servant</i></span></b></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;">Directed by Joseph Losey (UK, 1963, 112 mins) </span></span><br />
</div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9GRGFA-PfbqosTAbfQyq9eBbF7X8KfiGvgbK4nzhhmeKNAQg6rjCzJGB_a8tXpK-CVMuZoqt-2pAThn6t-P66pASj3Y25BXYQkc_S46kP_9bwZMIffN1VCc_hfKzSMzFofVnVjgl-RvG/s1600/TheServant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9GRGFA-PfbqosTAbfQyq9eBbF7X8KfiGvgbK4nzhhmeKNAQg6rjCzJGB_a8tXpK-CVMuZoqt-2pAThn6t-P66pASj3Y25BXYQkc_S46kP_9bwZMIffN1VCc_hfKzSMzFofVnVjgl-RvG/s320/TheServant.jpg" width="320" /></a></div><div style="margin-bottom: 0cm;"> </div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="font-family: Georgia,'Times New Roman',serif;">3pm</span></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><i>The Diary of a Chambermaid</i></span></b></span></div><div style="margin-bottom: 0cm;"><span style="font-size: small;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;">Directed by Luis Buñuel (France/Italy, 1964, 97 mins)</span></span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: x-small;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdOZdl0hlCAS-bfGbVjUbrevv3gOsNTQ6gkmv9TpJX9BUGd1CKNSaqm41dzc7teVduwXVjGDePUE_sSGyJjIXh97LbZmr7xpfPPcAMsdtpLyUKiUbKmldwKCg-NvWj_FjNlE0DSndvy3p/s1600/AH1802+3+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOpw-jyhZJKZqoiU9fDxmNndk3qJKbreczVlJaaR37ORxLLCZg6TiW-BzF4_qYmisrmrS2axABwQ3FuMAeKgHIiUP9pYzbWPsK-XsgWeNqAKRYrhobxRlpLQfkx3Y5EXJRIENonAcOMgon/s1600/dcm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOpw-jyhZJKZqoiU9fDxmNndk3qJKbreczVlJaaR37ORxLLCZg6TiW-BzF4_qYmisrmrS2axABwQ3FuMAeKgHIiUP9pYzbWPsK-XsgWeNqAKRYrhobxRlpLQfkx3Y5EXJRIENonAcOMgon/s320/dcm.jpg" width="320" /></a></div><br />
</div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-52649586748410178942012-01-24T12:17:00.000-08:002012-01-25T06:58:45.681-08:00AU HASARD II : GUILT: SATURDAY 4TH FEBRUARY<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black;">Au Hasard's film screenings continue with our second double bill:</span></span><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn68paswmTUJwhg-YkRedbxW2fpoLpDdDGGaMDrOE8ilDgfTyC0Aref4IXT5tY3rZ-hvfdYOajtbPR86ow2d5PInUM07wjaAWyy70B4VM9gkrSZZHZZr1-LqU4vWx9T0aZnm5ncV8o77DL/s1600/AH0402+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn68paswmTUJwhg-YkRedbxW2fpoLpDdDGGaMDrOE8ilDgfTyC0Aref4IXT5tY3rZ-hvfdYOajtbPR86ow2d5PInUM07wjaAWyy70B4VM9gkrSZZHZZr1-LqU4vWx9T0aZnm5ncV8o77DL/s320/AH0402+2.jpg" width="226" /></a></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 13px; line-height: 20px; margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black; font-size: x-small;"><br />
</span></span></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black;"><u><i><b>II.</b></i> <i><b>GUILT</b></i> - <b>Saturday 4th February</b></u></span></span></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;">'<i>After all, our department, as far as I know, and I know only the lowest level, doesn't seek out guilt among the general population, but, as the Law states, is attracted by guilt and has to send us guards out. That's the Law. What mistake could there be?'</i> </span><br />
<span style="color: black; font-family: Georgia,'Times New Roman',serif;">Franz Kafka</span></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;">1pm</span></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><b><span style="color: black;"><i>Death by Hanging</i></span></b></span></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><span style="color: green; font-family: Georgia,'Times New Roman',serif;"><span style="color: black;"><span style="text-decoration: none;">Directed by Nagisa Oshima</span></span><span style="color: black;"> (Japan, 1968, 117 mins)</span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ZSnYcGpeK5eg4su-ds6UaW59KacPUkf9PTRHHxvyDhF228JL3KuWhNrzZO9LeABVqIQf5KGvGflxqyiPrjHKw1aVgtgIWQIEsMhY9U9kSFw30gKzlsTwc4SqOCYLJNDf8lNnoblOs7_H/s1600/death-by-hanging-poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ZSnYcGpeK5eg4su-ds6UaW59KacPUkf9PTRHHxvyDhF228JL3KuWhNrzZO9LeABVqIQf5KGvGflxqyiPrjHKw1aVgtgIWQIEsMhY9U9kSFw30gKzlsTwc4SqOCYLJNDf8lNnoblOs7_H/s200/death-by-hanging-poster.jpg" width="142" /></a></div><div style="padding-left: 30px;"><em>'</em><em>We live lives that are even more evanescent than the bubbles floating along the stream – and even more meaningless. The reason we show an abnormal interest in crime and scandal is that a life, which usually drifts by, thereby appears caught up by a pole in the river’s flow. A drowning man grasps at straws. For we find, in crime and scandal, a tiny trace that reminds us of human dignity.'</em></div></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;">Oshima<br />
</span></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><br />
<br />
<br />
<span style="color: black; font-family: Georgia,'Times New Roman',serif;"> </span><br />
<div style="text-align: left;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;">3.15pm</span></div></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif;"><i>The Round Up</i></span></b></div><div style="background-color: #f3f3f3; color: #191919; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; line-height: 20px; margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif;">Directed by Miklós Janscó (Hungary, 1965, 95 mins)</span><br />
<br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkfmDCz-3EXBqn2B5UdpICKjHuARAXjxzWto46aegJ2kPz8agtMZ1Ph0pVebO64Q1UOUDSf5LAKZ8PleLbYkQ-DEeF0O643Ch26DCte_Nh1EFd7dDPROrDO5LOov62N7zP5fIvsrmIxo6u/s1600/round+up.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkfmDCz-3EXBqn2B5UdpICKjHuARAXjxzWto46aegJ2kPz8agtMZ1Ph0pVebO64Q1UOUDSf5LAKZ8PleLbYkQ-DEeF0O643Ch26DCte_Nh1EFd7dDPROrDO5LOov62N7zP5fIvsrmIxo6u/s200/round+up.jpg" width="141" /></a></div><div style="font-family: Georgia,"Times New Roman",serif;"><i>This film isn't just about 1956. The film is about the fact that there are people who want to be free and people who are oppressing them... There are moments in history where you can never know what happened. Everyone looks at it from a different perspective; everyone sees something different in it. There are always moments that are unsure. These are the little moments of history I am interested in. </i></div><span style="color: black; font-family: Georgia,'Times New Roman',serif;">Janscó</span></div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-36838968988382852582012-01-19T14:37:00.000-08:002012-01-19T14:37:32.462-08:00ESSE EST PERCIPI<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Qox-KbkXITU?feature=player_embedded' frameborder='0'></iframe></div><br />
</div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-33946617718647832702012-01-15T04:10:00.000-08:002012-01-15T04:10:33.993-08:00Journey To The End of The Night<div dir="ltr" style="text-align: left;" trbidi="on"><br />
<div style="line-height: 1.5em; padding-bottom: 8px; padding-left: 4px; padding-right: 4px; padding-top: 8px; text-align: center; text-indent: 20px;"><i><span style="background-color: #f3f3f3; font-family: Georgia, 'Times New Roman', serif;">"I, too, dragged myself toward the lights, a movie house, and then another right next to it, and another, all along the street. We lost big chunks of crowd to each of them. I picked a movie house with posters of women in slips, and what legs! Boyohboy! Heavy! Ample! Shapely! And pretty faces on top, as though drawn for the contrast, no need of retouching, not a blemish, not a flaw, perfect I tell you, delicate but firm and concise. Life can engender no greater peril than these incautious beauties, these indiscreet variations on perfect divine harmony.</span></i></div><div style="line-height: 1.5em; padding-bottom: 8px; padding-left: 4px; padding-right: 4px; padding-top: 8px; text-align: center; text-indent: 20px;"><i><span style="background-color: #f3f3f3; font-family: Georgia, 'Times New Roman', serif;">It was warm and cozy in the movie house. An enormous organ, as mellow as in a cathedral, a heated cathedral I mean, organ pipes like thighs. They don't waste a moment. Before you know it, you're bathing in an all-forgiving warmth. Just let yourself go and you'll begin to think the world has been converted to loving-kindness. I almost was myself.</span></i></div><div style="line-height: 1.5em; padding-bottom: 8px; padding-left: 4px; padding-right: 4px; padding-top: 8px; text-align: center; text-indent: 20px;"><i><span style="background-color: #f3f3f3; font-family: Georgia, 'Times New Roman', serif;">Dreams rise in the darkness and catch fire from the mirage of moving light. What happens on the screen isn't quite real; it leaves open a vague cloudy space for the poor, for dreams and the dead. Hurry hurry, cram yourself full of dreams to carry you through the life that's waiting for you outside, when you leave here, to help you last a few days more in that nightmare of things and people. Among the dreams, choose the ones most likely to warm your soul. I have to confess that I picked the sexy ones. No point in being proud; when it comes to miracles, take the ones that will stay with you. A blonde with unforgettable tits and shoulders saw fit to break the silence of the screen with a song about her loneliness. I'd have been glad to cry about it with her.</span></i></div><div style="line-height: 1.5em; padding-bottom: 8px; padding-left: 4px; padding-right: 4px; padding-top: 8px; text-align: center; text-indent: 20px;"><i><span style="background-color: #f3f3f3; font-family: Georgia, 'Times New Roman', serif;">There's nothing like it! What a lift it gives you! After that, I knew I'd have courage enough in my guts to last me at least two days. I didn't even wait for the lights to go on. Once I'd absorbed a small dose of that admirable ecstasy, I knew I'd sleep, my mind was made up.</span></i></div><div style="line-height: 1.5em; padding-bottom: 8px; padding-left: 4px; padding-right: 4px; padding-top: 8px; text-align: center; text-indent: 20px;"><i><span style="background-color: #f3f3f3; font-family: Georgia, 'Times New Roman', serif;">When I got back to the Laugh Calvin, the night clerk, despite my greeting, neglected to say good evening the way they do at home. But his contempt didn't mean a thing to me anymore. An intense inner life suffices to itself, it can melt an icepack that has been building up for twenty years. That's a fact.</span></i></div><div style="line-height: 1.5em; padding-bottom: 8px; padding-left: 4px; padding-right: 4px; padding-top: 8px; text-align: center; text-indent: 20px;"><i><span style="background-color: #f3f3f3; font-family: Georgia, 'Times New Roman', serif;">In my room I'd barely closed my eyes when the blonde from the movie house came along and sang her whole song of sorrow just for me. I helped her put me to sleep, so to speak, and succeeded pretty well... I wasn't entirely alone... It's not possible to sleep alone..."</span></i></div><div style="line-height: 1.5em; padding-bottom: 8px; padding-left: 4px; padding-right: 4px; padding-top: 8px; text-align: center; text-indent: 20px;"><span style="font-family: Georgia, 'Times New Roman', serif;"><i style="background-color: #f3f3f3;">Louis Ferdinand Celine"Journey to the end of the night"</i></span></div></div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-8061158315853015772012-01-12T14:46:00.000-08:002012-01-12T14:48:07.524-08:00AU HASARD I: INCARCERATION / SATURDAY 21 01 2012<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Georgia, 'Times New Roman', serif;">SATURDAY 21 01 2012</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Georgia, 'Times New Roman', serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Georgia, 'Times New Roman', serif;">All welcome for our very first AU HASARD screening: <b>Incarceration.</b></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><b><br />
</b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQAkBE4lQQMUARgUTDWrzGi3S2grIo1zVciRq55vQy0qRwXuQebr6KEfXO-QL9VhsZEqj8skdkr8-7kZFfP4hgCupuNdxbxr1qHDxQAf5npkNfdY_rItAApbtPQGlZ11DYE1COqyj53Sm/s1600/AH2101.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQAkBE4lQQMUARgUTDWrzGi3S2grIo1zVciRq55vQy0qRwXuQebr6KEfXO-QL9VhsZEqj8skdkr8-7kZFfP4hgCupuNdxbxr1qHDxQAf5npkNfdY_rItAApbtPQGlZ11DYE1COqyj53Sm/s320/AH2101.jpg" width="214" /></a></div><br />
<div><br />
</div><div><br />
</div></div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-9936141860896727782012-01-12T08:03:00.001-08:002012-02-23T02:32:07.769-08:00AU HASARD - SCREENINGS<div dir="ltr" style="text-align: left;" trbidi="on"><div><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Free and Open to All - Alternate Saturdays from 1pm</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black; font-size: small;">Location: Room B18, Birkbeck College, Malet Street, London, WC1E 7HX </span> </span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><u><i><b>I. </b></i><i><b>INCARCERATION</b></i> - <b>Saturday 21st January</b></u></span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">'The wind bloweth where it listeth, and thou hearest the sound thereof, but canst not tell whence it cometh, and whither it goeth.' John 3, 8</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">1pm</span></div><div style="margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><i>A Man Escaped, or The Wind Bloweth Where it Listeth</i></span></b></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Directed by Robert Bresson (France, 1957, 99 mins)</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">2.50pm</span></div><div style="margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><i>The Woman of the Dunes</i></span></b></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black; font-size: small;">Directed by Hiroshi Teshigahara (Japan, 1964, 123 mins) </span> </span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black; font-size: small;"><u><i><b>II.</b></i> <i><b>GUILT</b></i> - <b>Saturday 4th February</b></u></span></span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">'After all, our department, as far as I know, and I know only the lowest level, doesn't seek out guilt among the general population, but, as the Law states, is attracted by guilt and has to send us guards out. That's the Law. What mistake could there be?' Franz Kafka</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">1pm</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><b><span style="color: black; font-size: small;"><i>Death by Hanging </i></span></b> </span></div><div style="margin-bottom: 0cm;"><span style="color: green; font-family: Georgia,'Times New Roman',serif; font-size: small;"><span style="color: black;"><span style="text-decoration: none;"><span style="font-weight: normal;">Directed by Nagisa Oshima</span></span></span><span style="color: black;"> (Japan, 1968, 117 mins)</span></span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">3.15pm</span></div><div style="margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><i>The Round Up</i></span></b></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Directed by Miklós Janscó (Hungary, 1965, 95 mins)</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><u><i><b>III.</b></i><i><b> SUBMISSION</b></i> - <b>Saturday 18<sup>th</sup> February</b></u></span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">'Every good servant does not all commands.' William Shakespeare</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span><br />
<span style="font-family: Georgia,'Times New Roman',serif; font-size: small;">1pm</span></div><div style="margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><i>The Servant</i></span></b></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Directed by Joseph Losey (UK, 1963, 112 mins) </span><br />
<span style="font-family: Georgia,'Times New Roman',serif;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;">3pm</span></div><div style="margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><i>The Diary of a Chambermaid</i></span></b></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Directed by Luis Buñuel (France/Italy, 1964, 97 mins)</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><u><span style="color: black;"><i><b>IV. MARQUIS DE SADE</b></i></span> - <b>Saturday 10th March<span style="color: red;"> ***note change of date***</span></b></u></span><br />
<span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">'What De Sade was trying to bring to the surface of the conscious mind was precisely the thing that revolted that mind... From the very first he set before consciousness things which is could not tolerate.' Georges Bataille</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">1pm</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><i><b>Marat/Sade</b> (The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade)</i></span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Directed by Peter Brook (UK, 1967, 116 mins)</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">3pm</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black; font-size: small;"><b><i>Salo, or the 120 Days of Sodom</i></b> </span> </span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Directed by Pier Paulo Pasolini (Italy, 1975, 116 mins)</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black; font-size: small;"><u><i><b>V. CHILDHOOD</b></i> -<b> Saturday 17<sup>th</sup> March</b></u></span></span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black; font-size: small;">'Oh hours of childhood, <br />
when behind each shape more than the past appeared <br />
and what streamed out before us was not the future.' </span> </span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Rainer Maria Rilke</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">1pm</span></div><div style="margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><i>Zero For Conduct</i></span></b></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Directed by Jean Vigo (France, 1933, 41 mins)</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">1.50pm</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black; font-size: small;"><b><i>Le Révélateur</i></b> </span> </span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif;"><span style="color: black; font-size: small;">Directed by Philippe Garrel (France, 1968, 67 mins) </span> </span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">3.15pm</span></div><div style="margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><i>Viva La Muerte</i></span></b></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Directed by Fernando Arrabal (France, 1971, 90 mins)</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><u><i><b>VI. MUTINY</b></i> - <b>Saturday 31<sup>st</sup> March</b></u></span></div><div style="font-style: normal; font-weight: normal; margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">'The very forms of organization of the struggle will suggest... a different vocabulary - Brother, sister, friend.' Franz Fanon</span></div><div style="margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="font-style: normal; font-weight: normal; margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">1pm</span></div><div style="font-weight: normal; margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><i>Kanal</i></span></b></div><div style="font-style: normal; font-weight: normal; margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Directed by Andrzej Wajda (Poland, 1956, 95 mins)</span></div><div style="font-style: normal; font-weight: normal; margin-bottom: 0cm;"><span style="font-family: Georgia,'Times New Roman',serif; font-size: small;"><br />
</span></div><div style="font-style: normal; font-weight: normal; margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">2.50pm</span></div><div style="font-weight: normal; margin-bottom: 0cm;"><b><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;"><i>The Battle of Algiers</i></span></b></div><div style="font-style: normal; font-weight: normal; margin-bottom: 0cm;"><span style="color: black; font-family: Georgia,'Times New Roman',serif; font-size: small;">Directed by Gillo Pontecorvo (Algeria, 1966, 121 mins)</span></div></div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0tag:blogger.com,1999:blog-1628119213465723768.post-88171960255018855182011-11-07T11:39:00.000-08:002012-01-12T14:55:25.713-08:00AU HASARD<div dir="ltr" style="text-align: left;" trbidi="on"><div align="CENTER" class="western" style="margin-bottom: 0cm;"><span style="color: red; font-family: 'Gentium Book Basic';"><i><b>''Revolution is not 'showing' life to people but bringing life to them''</b></i></span></div><div align="CENTER" class="western" style="margin-bottom: 0cm;"><span style="font-family: 'Gentium Book Basic';">Guy Debord</span></div><div align="CENTER" class="western" style="margin-bottom: 0cm;"><span style="font-family: 'Gentium Book Basic';"><span style="font-size: x-small;"><br />
</span></span></div><div align="CENTER" class="western" style="margin-bottom: 0cm;"></div><div align="CENTER" class="western" style="margin-bottom: 0cm;"><span style="font-family: Georgia, 'Times New Roman', serif;">Au Hasard is a bi-monthly cine-club in London.</span></div><div align="CENTER" class="western" style="margin-bottom: 0cm;"><span style="font-family: Georgia, 'Times New Roman', serif;">Au Hasard aims to explore and question the history of global cinema.</span></div><div align="CENTER" class="western" style="margin-bottom: 0cm;"><span style="font-family: Georgia, 'Times New Roman', serif;">Forgotten films, banned films, rarely screened films, radical films, experimental films, classical films, political films, heretical films, revolutionary films, subversive films.</span></div><div align="CENTER" class="western" style="margin-bottom: 0cm;"><span style="font-family: Georgia, 'Times New Roman', serif;">Au Hasard hopes to create a space to ask what cinema is and what it might be.</span></div></div>AU HASARDhttp://www.blogger.com/profile/12544473476002578081noreply@blogger.com0