DPSR a écrit:
Bon bah verdict lundi, je me le materai dans l'avion.
c'est ça qui mérite le bannissement!
JC : si tu penses vraiment qu'il est impossible d'avoir une réflexion critique sur l'éthique de la preprésentation tout en faisant du cinéma, alors on va avoir un problème, parce que tu vas virer une sacrée quantité de cinéastes...
demande-toi pourquoi le film s'appelle Redacted... Ce n'est pas un film sur la guerre, mais un film sur la représentation du monde.
ceci étant, forcément, se poser des questions sur l'éthique de la représentation, c'est se remettre soi-même en question en tant que créateur d'images. Et on peut légitimement se demander quel sera l'avenir de De Palma après un tel film.
se rappeler pourquoi Whitehead, justement, puisque j'en parlais, a décidé d'arrêter de filmer en 1969 (bon, il a pas réussi du premier coup, il n'a arrêté définitivement le cinéma qu'en 1977).
Citation:
For me in the end, I had to decide to have what I call 'authentic experience' which was to give up filming, totally. And after I made The Fall, I gave it up. But then of course I ahd to take one step even further and that was to give up on society. But probably I had already given up on society and because I had given up on society, or didn't consider myself to be a social or political animal, that is why I made films. But when I gave up films I had no link. Having discovered that was the very thing that was severing me, I went off into the wilderness and trapped falcons. When you are hanging on a cliff, two hundred and fifty feet over the Atlantic Ocean in North Morocco, on a rope, and you are not quite sure whether to go up and down or whether the clouds are coming in, or like I used to be sometimes, fifty miles north of the Arctic Circle on one of the rivers in Iceland trying to trap one falcon that had a territory of twenty square miles in temperatures of minus thirty degrees, you don't stop to take photographs.
There's a French expression - you'll excuse me for being too pedantic - 'Voir pour voir et pas pour regarder'. 'To see in order to see, and not to look at.' In the culture we live in, images are used to alienate us, not to invite us to participate. The only participation is to go and buy it. So what you have to do is constantly make people alienated. The whole barrage of images, a lot of which are very sexy, a lot of them very clever. Some of the advertising things are brilliantly clever. They are alienating us in every possible way from our own feelings, and so on. They are just persuading us, they are trapping us into a situation where we simply feel anxious if we do not respond to this barrage of seductive images and go out and spend. Spend, spend, spend and buy these things, all of which merely increase the alienation. You go and spend forty quid on a new blouse, you go out to a nightclub and three girls have got the same blouse. You feel like throwing yourself in the river, so my daughters tell me. I don't go out and buy Armani suits. But the whole principle of the modern society in which we are saturated by images is that the images are aggressive, violating. They are violating us and deliberately making us feel alienated from everything, including ourselves, our own feelings, and our own natural selves. The Fall is the ultimate expression of this kind of engulfment in images. I went for twenty-five years into the desert, where for me there was no alienation.
In the end of The Fall I participated with a commune of other human beings in an act of violence against a world that was crushing me with images. And I had a certain satisfaction. But when I stepped out of it and came out of it and got back to England and finished my film and I thought, "It's fake. So what? Do I want to go on banging my head against the wall, trying to change people?" I discovered I changed nobody by making The Fall. I was just adding to the plethora of images. I had to change myself.
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