sábado, 8 de setembro de 2012



3 comentários:

bruno andrade disse...

Só é moderno
quem é eterno.

bruno andrade disse...

Rocha: The principle of the art-house circuit is reactionary today, because it imposes a certain type of film and tends to create its own closed market. Right from the script to its projection, a film is earmarked ‘art-house’, and this is very bourgeois, very reactionary, very elitist ... And the public coming to see the film does so with a very snobbish attitude.

Straub: But then you can’t expect the mass public not to go to these films, not to try to penetrate this ghetto, simply because it’s impenetrable. And further it’s in the art-house cinemas that the projection is worst. Because art-house distributors haven’t yet understood that the cinema is a very material art, even a materialist art, and that ‘art is not sufficient unto itself’. The more a film is said to be ‘arty’, the worse it gets projected. So you get this paradox. They say, it’s only an art film, it’s not worth taking any trouble, it’s projected anyhow, the image is hazy, you can’t see a thing, no one respects the screen ratio, you can’t hear the sound ... sometimes part of the image is off the screen, to say nothing of the sound, since you hear nothing. OK. And then I agree with Glauber when he says, you can’t tell how peasants and workers will react to our films. I maintain with him that the cinema is precisely for them, that it corresponds to something ... The cinema derives its impact from experiences which workers and peasants encounter daily, in their normal lives, while the intellectuals have no experience, it being understood that they don’t even live. That’s why films are empty for them. While the others see in films something which concerns them, difficulties which they have to overcome. Day after day.


42 anos atrás, "day after day", e a coisa só fez agravar, graças à condescendência dos acomodados de sempre.

bruno andrade disse...

"Fome, sede, dança. De Gomorra vieram seus bárbaros antepassados. Na primavera do ano 1080, Nicolau de Cuza estrupou uma princesa ocidental descendente de Gengis Khan, concebendo Davi. E Davi gerou Don Fernandes, e Don Fernandes gerou Diacuí, e Diacuí gerou o preto velho Zezinho da Perna Dura, e Zezinho da Perna Dura gerou Noel, e Noel gerou Edmílson, e Edmílson gerou Aristides, e Aristides gerou ela: Sônia Silke, a fera oxigenada!"

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