I met (figuratively speaking) Vincent
Morrisset becuase we are both fans of Arade Fire and Sigur Ros. I have not been
able to see his other films but Bla bla
blew my mind. It is a film to be seen in a computer. there is an interesting
temptation of the unconscious in it. The idea of game and chance is extremely dadaits. There has been much written
about the new vanguards today, but I just feel that cinema is is travelling
back to the future. If you have 10 minutes (yeah, its a short film) watch it
with the mouse in your hand.
Morrisset was featured in the Wired magazine early this year.
Described as a web-friendly director, he is said to have taken a step aside -more
than a step forward- in filmmaking. Steping
aside. That’s a concept that helps me think a lot about my project, which discusses
Lucrecia Martel's post-2008 films –the ones pasted in my last post-.
Very broadly speaking, I assert that Martel
articulates a "surrealist para-space for women agency". The central
point of my thesis is that she produces a self-decapitation in order to create
an alternative space (a para-space) outside
of hegemonic discourse (connected to surrealism, this para-space, is presented in the form of gestures).
Surrealism and the para-space it fosters, relates back to
the historical vanguards. Here I think
of Fernanado Rosenberg
“From
this position, Latin American avant-gardes could undertake a critique of
modernity and its narratives, including
those of “international”3modernism and its avant-gardes, but along a different
axis, not through rushing the temporalities of progress
forward or through a return to primitive origins. Instead, they developed narratives of space that articulated
the Latin American situation in a
shifting world order. Some European avant-gardes movements (cubism,
dadaism, surrealism, etc.) attempted to undermine the legacy of the Enlightenment
and its foundation in the white man as the model of rationality and historical
agency under the direction of universal, abstract progress. Because of their
investment in modernity and their peripheral position in its foundational narratives,
however, Latin Americans were forced to level their criticism
through and with a particular attentiveness to spatial issues that
addressed this problematic inclusion but that were repressed by the same idea
of progress that they embraced.” (my emphasis, 2)
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