Creative Writing Workshop

This was my first creative writing workshop in my life! Thank you Offenes Wohnzimmer in Moabit 😀

 

Excercise 1:

There is a urban mith which says Hemmingway made a bet to his colleagues that he could write a six words story and so he wrote:

“For sale baby shoes never worn”.

We are invited to create one in only 15 mins, these where the results:

  • For more information please read again.
  • I love you not being here.
  • Lonely wonderer blinding lights eternal darkness.
  • Never feel pain again, procedure controvertial.
  • There is nothing I still am.
  • My dad was the last human.
  • Dead husband broke in last night.
  • Two plastic socks on red liquid.

Excersice 2:

Select one of our fellows six words story and write a Prologue for it.

PROLOGUE

Dear Maria,

I am finding it so hard to read what happened. I am not sure if it make me nostalgic, angry, hopefull or wholesome. Since dad told me about your situation I can only pray for you. Please believe me this is utterly not a preaching moment. You may want to receive my wishes as atomic waves or anything related to your regular scientific analysis of life. The thing is, since you left home for school your plants hace veen very hard to keep up to and I followed your recommendation to talk to them. I read on the internet that this is clearing the air and something related to a so called CO2 around them. So I did it under this approach, because they are your plants, mines, you know, I would take them on a walk to church. So, since you mooved 350 km away from our shinny green village into that crazy urban NY huzzle there was nothing else I could do for you than to take care of them. But who took care of you on your last semester when you went through all the examinations, not telling anyone about your condition, not even your beloved Hannah. Why did you decide to face it this way, detached from anyone? Well, after the police officers went through every detail of our home – what leaves me feeling almost raped – I am writing to tell you I will still take care of your plants, but you better show up. Dad is utterly destroyed.

Love you Sis,

Carmen

 

STORY

There is nothing I still am.

/ or /

I love you not being here.

M. Lopez

Libro “La supraconsciencia existe”

Me interesa el tema de las ECM (Experiencias Cercanas a la Muerte) por la que tuve a los 2 años al ahogarme en la pileta de mi casa y pasar 7 días en coma. Las experiencias cercanas a la muerte (ECM) son “eventos lúcidos que ocurren cuando una persona está tan comprometida físicamente que moriría si su condición no lograra mejorar.”

Lo que me interesa de este libro es cómo el científico traza un hilo desde la filosofía a la física cuántica para postular la existencia de la Supraconsciencia. Me interesa más el hilo conector de múltiples postulados como la filosofía de Heidegger, las leyes de la metafísica y anécdotas de Albert Einstein y el desarrollo de la ciencia cuántica en la tecnología actual y futura, que la teoría que postula de una manera metodocientíficamente.

 

Pelicula, Volver a empezar – Jose Luis Garci

“Cuando somos jóvenes pensamos que las persons mayores no se aman, yo también lo creí… Pensaba que la gente como somos ahora nosotros se tenían cariño, afecto, pero no que se amaran… que sintieran pasión ¡Y no es verdad! Los hombres y las mujeres son capaces de amar hasta el último momento de la vida. En realidad solo se envejece cuando no se ama.”

Cutre

Cutre

Yo estoy hecho para el abandono
No me mires
No ames mis mierdas
Desde lo alto te contemplo
No tengo alma
Ni tierra
Antes de ser cruel contigo
Voy a quedarme a tu lado
Tú a mí no me manipulas
Yo sé que te alejaste por el miedo
A perder la normalidad
Esa que te asfixia
Y a la que llamas tóxica
Y guardas en tu altar
Puedo decidir no sentir
Soy un cínico
Artista entre sistemas
En ambos fútil
En cada cual útil
Traspaso información
Atentando contra sus bellezas
Me niego a destruirme
Soy asfalto cutre
Y me necesitas

M. Lopez

Pelicula – Casablanca

Pelicula – Casablanca

Casablanca (1942)

Rick Blaine (Humphrey Bogart), who owns a nightclub in Casablanca, discovers his old flame Ilsa (Ingrid Bergman) is in town with her husband, Victor Laszlo (Paul Henreid). Laszlo is a famed rebel, and with Germans on his tail, Ilsa knows Rick can help them get out of the country.

Pierre Bonnard

Pierre Bonnard (French: [bɔnaʁ]; 3 October 1867 – 23 January 1947) was a French painterillustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color.[1] A founding member of the Post-Impressionist group of avant-garde painters Les Nabis,[2] his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject.[3][4]

Nude Against the Light (1908), Royal Museums of Fine Arts of Belgium

 

Early career – the Nabis

[edit]

Bonnard received pressure from a different direction to continue painting. While he had received his license to practice law in 1888, he failed in the examination for entering the official registry of lawyers.[13] Art was his only option. After the summer holidays, he joined with his friends from the Academy Julian to form Les Nabis, an informal group of artists with different styles and philosophies but common artistic ambitions. As he later wrote, Bonnard was entirely unaware of the Impressionist painters, or of Gauguin and other new painters.[13] His friend Paul Sérusier showed him a painting on a wooden cigar box he made after visiting Paul Gauguin at Pont-Aven, using patches of pure color in the style of Gauguin. In 1890, Maurice Denis, at age twenty, formalized the doctrine in which a painting was considered “a surface plane covered with colors assembled in a certain order.”[14]

Some of the Nabis had highly religious, philosophical or mystical approaches to their paintings, but Bonnard remained more cheerful and unaffiliated. The painter-writer Aurelien Lugné-Poe, who shared a studio at 28 rue Pigalle with Bonnard and Vuillard, wrote later, “Pierre Bonnard was the humorist among us; his nonchalant gaiety, and humor expressed in his productions, of which the decorative spirit always preserved a sort of satire, from which he later departed.”[15]

In 1891, he met Toulouse-Lautrec and, in December 1891, showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year, Bonnard also began an association with La Revue Blanche, for which he and Édouard Vuillard designed a frontispiece.[16] In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville.[11]

The style of Japanese graphic arts became an important influence on Bonnard. In 1893, a major exposition of works of Utamaro and Hiroshige was held at the Durand-Ruel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard.[11]

He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892, he began creating lithographs, and painted Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse.

In 1894, he turned in a new direction and made a series of paintings of scenes of the life of Paris. In his urban scenes, the buildings and even animals were the focus of attention; faces were rarely visible. He also made his first portrait of his future wife, Marthe, whom he married in 1925.[11] In 1895, he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany.[11]

In 1895, he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Amboise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis.[11]

Later years (1900–1938)

[edit]

Throughout the early 20th century, as new artistic movements emerged, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping constant the characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also produced 109 lithographs for Parallèment, a book of poems by Paul Verlaine.[17] He also took part in an exhibition with the other Nabis at the Bernheim Jeaune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905, he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908, he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909 and, in 1911, began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov.[18]

During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La PastoraleMéditterranéeLa Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists.[18]

In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925, he purchased a villa in Cannes.[18]

Japanism

[edit]

Nannies’ Promenade, decorative screen showing a procession of carriages with nurses and children (1897), National Gallery of Victoria. As in Japanese screens, the action is read from right to left.

Japanese art played an important part in Bonnard’s work. He was first able to see the works of Japanese artists via the Paris gallery of Siegfried Bing. Bing brought works by Hokusai and other Japanese print makers to France, and from May 1888 through April 1891 published a monthly art journal, Le Japon Artistique, which included color illustrations in 1891. In 1890, Bing organized an important exhibition of seven hundred prints he had brought from Japan, and made a donation of Japanese art to the Louvre.[20]

Bonnard used the model of Japanese kakemono scroll art—long, vertical panels—in his series of paintings Women in the garden (1890–91), now in the Museé d’Orsay. Originally designed to appear together as a single screen, Bonnard decided to display Women in the garden as four separate decorative panels. The female forms are reduced to flat silhouettes, and there is no rendering of depth in the picture. The faces are turned away from the viewer and the pictures are entirely dominated by the colors and bold patterns of the costumes and the backgrounds. The models are his sister Andreé and his cousin Berthe Schaedin.[21] Bonnard often pictured women in checkered blouses, a design he said he had discovered in Japanese prints.[20]

 

 

Pierre Bonnard’s Journey into Light: Landscapes 1894-1946

Pierre Bonnard’s Journey into Light: Landscapes 1894-1946

 Pierre Bonnard (1867-1947), In Summer (1931), further details not known. Wikimedia Commons.

Today, Pierre Bonnard is probably most famous for his paintings of women, particularly those of Marthe in the bath, which I surveyed last week. Throughout his career, even from the years before he met Marthe, he was an avid landscape painter. In researching this series, I have been amazed at the many landscapes which he painted, not just in his later years at Le Cannet, but throughout the period that he worked primarily in the north of France.

Bonnard started painting as a resident in central Paris, and maintained a flat and studio there into his late years. He travelled extensively, though, and in the early twentieth century started to migrate slowly to the south of France, settling in the small town of Le Cannet. In this small selection of some of his finest landscapes, I give simply the title, year, and approximate location of the view.

I hope that you enjoy this unusual overview of more than fifty years of his work, which demonstrates how his style evolved, but confirms how little his paintings really changed, in comparison to the huge changes which took place in art over this period.

bonnardredroof
Pierre Bonnard (1867-1947), A Red Roof (1894), oil on canvas, 30 x 50.5 cm, Private collection. The Athenaeum.

A Red Roof, 1894, near Le Grand-Lemps, Isère, eastern France.

bonnarddauphinelandscape1899
Pierre Bonnard (1867-1947), Dauphiné Landscape (c 1899), oil on canvas, 45.5 x 56 cm, The State Hermitage Museum, St Petersburg, Russia. The Athenaeum.

Dauphiné Landscape, about 1899, near Le Grand-Lemps, Isère, eastern France.

bonnardvetheuil
Pierre Bonnard (1867-1947), Vétheuil (c 1902), oil on canvas, 54 x 80.1 cm, Private collection. The Athenaeum.

Vétheuil, about 1902, to the north-west of Paris.

bonnardinboat1907
Pierre Bonnard (1867-1947), In a Boat (c 1907), oil on canvas, 74 x 85 cm, Private collection. The Athenaeum.

In a Boat, about 1907, possibly in the south of France.

bonnardearlyspring1908
Pierre Bonnard (1867-1947), Early Spring (1908), oil on canvas, 87.6 x 132.1 cm, The Phillips Collection, Washington, DC. The Athenaeum.

Early Spring, 1908, possibly the Terrasse family, probably northern France.

bonnardterracegrasse
Pierre Bonnard (1867-1947), The Terrace at Grasse (1912), oil on cardboard, 125 x 134 cm, Private collection. The Athenaeum.

The Terrace at Grasse, 1912, Grasse, inland of Cannes, south-eastern France.

bonnardblueseinevernon
Pierre Bonnard (1867-1947), Blue Seine at Vernon (1912), oil on canvas, 46.7 x 69.5 cm, Private collection. The Athenaeum.

Blue Seine at Vernon, 1912, Vernon, near Giverny, north-west of Paris.

bonnardgardenvernonnet
Pierre Bonnard (1867-1947), The Garden at Vernonnet (1915), oil on canvas, 61 x 53.8 cm, Private collection. The Athenaeum.

The Garden at Vernonnet, 1915, Vernon, near Giverny, north-west of Paris.

bonnardhousebypath1918
Pierre Bonnard (1867-1947), House by the Path on the Cliff (1918), oil on panel, 36.8 x 45.7 cm, Private collection. The Athenaeum.

House by the Path on the Cliff, 1918, probably northern France.

bonnardpastoralsymphony1920
Pierre Bonnard (1867-1947), Pastoral Symphony (1916-20), oil on canvas, 130 x 160 cm, Private collection. The Athenaeum.

Pastoral Symphony, 1916-20, location not known.

bonnardriviera1923
Pierre Bonnard (1867-1947), The Riviera (c 1923), oil on canvas, 79 x 76.2 cm, The Phillips Collection, Washington, DC. The Athenaeum.

The Riviera, about 1923, southern France.

bonnardlandscapemountains1924
Pierre Bonnard (1867-1947), Landscape with Mountains (1924), oil on canvas, 40 x 59 cm, The Phillips Collection, Washington, DC. The Athenaeum.

Landscape with Mountains, 1924, location not known.

bonnardlecannetviewpinkhouse
Pierre Bonnard (1867-1947), Le Cannet, View from the Pink House (1926), oil on canvas, 40 x 55.3 cm, Private collection. The Athenaeum.

Le Cannet, View from the Pink House, 1926, Le Cannet, south coast of France.

bonnardlecannet1930
Pierre Bonnard (1867-1947), View of Le Cannet (c 1930), oil on board on cradled board, 44.5 x 37.5 cm, Private collection. The Athenaeum.

View of Le Cannet, about 1930, Le Cannet, south coast of France.

bonnardbreakfastroom1931
Pierre Bonnard (1867-1947), The Breakfast Room (Dining Room Overlooking the Garden) (1930-31), oil on canvas, 159.7 x 113.98 cm, Museum of Modern Art, New York, NY. The Athenaeum.

The Breakfast Room (Dining Room Overlooking the Garden), 1930-31, location not known.

bonnardinsummer1931
Pierre Bonnard (1867-1947), In Summer (1931), further details not known. Wikimedia Commons.

In Summer, 1931, probably Le Cannet, south coast of France.

bonnardlandscapelecannet1938
Pierre Bonnard (1867-1947), Landscape at Le Cannet (1938), oil on canvas, 52 x 72 cm, Private collection. The Athenaeum.

Landscape at Le Cannet, 1938, Le Cannet, south coast of France.

bonnardpanoramalebosquet
Pierre Bonnard (1867-1947), Panoramic View of Cannet (The Blue Mountain) (c 1942-44), gouache, watercolour and pencil on paper, 34.3 x 50.2 cm, Private collection. The Athenaeum.

Panoramic View of Le Cannet or The Blue Mountain, 1942-44, Le Cannet, south coast of France.

bonnardstudiomimosa
Pierre Bonnard (1867-1947), The Studio at Le Cannet, with Mimosa (1938-46), oil on canvas, 127.5 x 127.5 cm, Musée National d’Art Moderne de Paris, Paris. The Athenaeum.

The Studio at Le Cannet, with Mimosa, 1938-46, Le Cannet, south coast of France.

References

Guy Cogeval and Isabelle Cahn (2016) Pierre Bonnard, Painting Arcadia, Prestel. ISBN 978 3 791 35524 5.
Gilles Genty and Pierrette Vernon (2006) Bonnard Inédits, Éditions Cercle d’Art (in French). ISBN 978 2 702 20707 9.
Timothy Hyman (1998) Bonnard, World of Art, Thames and Hudson. ISBN 978 0 500 20310 1.

Cine, Godard

Jean-Luc Godard – Famous French film director

https://www.francethisway.com/culture/jean-luc-godard.php#:~:text=Godard%20is%20a%20French%20filmmaker,as%20both%20radical%20and%20stylistic.

Godard is a French filmmaker perhaps best known for his way of challenging Hollywood. One of the most influential members of the Nouvelle Vague or “The French Wave”, he is universally recognized as both radical and stylistic. His work reflected a profound respect and knowledge of film history, but also a very deep understanding of Marxist philosophy.

Godard was born in Paris by French-Swiss parents and was schooled in Switzerland. Later on, when he was at the Sorbonne he studied ethnology and it was at this time he also found his way closer to a group of filmmakers and film theorists who would become the Nouvelle Vague.

It is often said that Godard sought an artistic outlet and to open a discussion about international conflict in his films, such as the Algerian War of Independence which he dealt with in Le Petit Soldat. And, he is often recognized for showing a multifaceted view of this conflict rather than pushing any particular political viewpoint.

But Godard was also very concerned with issues in his contemporary France. An example of this would be Vivre sa Vie, the portrayal of a French prostitute.

His most celebrated time period is maybe 1960-1967. This time period in Paris was not ruled by one very clear movement. Instead Paris experienced flashes of opposing takes on various international conflicts such as colonialism. Godard’s first feature from this time was Breathless, 1960. During this time Godard was very focused on narrative and he often referred to various times/events/films in film history. Another example of this is Week End, 1967.

Following this period, Godard made a sharp u-turn in his work. Instead of the strong narrative focus and celebration of film history his work became more revolutionary, and he started to refer to cinema history as bourgeois (which essentially meant it had no worth).

While Godard’s most famous work was created in the 1960’s, he has continued to make films that move. And, it is possible that he created the most important work of his career as late as in the 1990s. Histoires du Cinema is a celebration of his video work and the issues of history of film.

During his career in film Godard has won 30 significant industry awards and earned 28 nominations. One of his most famous quotes to date is “You don’t make a movie, the movie makes you.

“I work like a painter” – exploring Jean-Luc Godard’s use of artwork in his films

https://hero-magazine.com/article/221890/jean-luc-godard-art
HERO Magazine
By Arijana Zeric | Art | 19 October 2022

Imagine you employ a bunch of actors, one of them is even an astonishing foreign beauty, you have a camera crew, a gaffer, set designers, prop makers, producers, you even have a composer for the score, you manage to scrape up all that money together to finally make a movie, the first day of shooting is finally here… and then you show up on set without a script. That was Jean-Luc Godard – most famously on the set of his 1963 film, Le petit soldat. Was he going to lose it all and never gain the trust of any producer again? No, instead he would create the most stylised and influential body of work a filmmaker has ever produced.

Godard’s spontaneous way of working meant he would start developing the dialogue and script on the spot. Raw, unpredictable and with typical Parisian intellectualism, he created like a true artist does with his masterpieces; from scratch. He rejected the idea of pre-writing a film early on in his career. ‘Seeing precedes the written word’ was the motto and a focus on visual language led the way – in this sense, he repeatedly emphasised the parallels between the history of cinema with the history of painting.

Art is ever-present in Godard’s work; graphic design and modern art are skilfully interpreted and used as props, drawing as much from pop culture as art classique to create a unique collage style. The run through the Louvre in Bande à part, those abstract camera tricks diverting the viewer’s perspective, and Pierrot le Fou’s Pierrot-Ferdinand [Jean-Paul Belmondo] reading a paperback of Elie Faure’s Histoire de l’Art in the bath. Godard even aligns himself with the greatest painter of modern art, Picasso himself, positioning the profile of his creationPierrot le Fou, right in the middle of two Picasso portraits. Basically equal in size and perspective, it’s a statement: If Picasso is the greatest painter, then Godard is the greatest filmmaker. His constant deconstructions, reconstructions, edits and metaphors create a rich pop-art collage.

Following his passing earlier this year, we look at Godard’s obsessions with visual language through artworks in three of his most iconic films.

Pierrot le Fou, 1965

When talking about art in Godard’s work, Pierrot Le Fou is loaded with examples. The dense display of modernist artworks by Picasso, Modigliani, Chagall, Renoir and others appear in the form of posters and postcards, loosely taped on the walls, juxtaposed with random magazine covers of Paris Match, while our protagonists are seen to be avid readers of Elie Faure’s History of art. Dominated by blue, red and yellow, the pop art references are instant and continuous, albeit mixed with the classics. Pierrot’s blue painted face can be seen as a then-contemporary reference to Yves Klein, vanishing into the blue sea and the sky.

Pierrot le Fou, 1965

Deux ou trois choses que je sais d’elle, 1967

Between whisperings and bold typography Godard oscillates around social issues such as consumerism, prostitution and oppression. The latter is present with large billboards in shouty type on colour blocks, ordering us to take notice, buy this, see that, do this. In contrast, the whispering off-voice, with its hushed messages, is all too powerless against society at large. as individuals seem small, almost disappearing into the busy backdrop of colourful advertising. Throughout, Godard continues his obsession with graphic design and delivers a closer look at how present and powerful it really can be. From gas stations to cornflakes, everything has a written message for us in this world of typeface capitalism. 

Deux ou trois choses que je sais d’elle, 1967

Masculin, Féminin, 1966

Title sequences and subtitles are underlined by the explosive noise of a gun while handwritten graffiti and printed newspapers structure this loose story of a young rebel in love. A hymn to pop culture and the Parisian youth of the 60s, the film is carried by Yeye music and features appearances from French stars Françoise Hardy and Brigitte Bardot. The font of those titles, with its typical oversized round dots, became symbolic of the French Nouvelle Vague as well as text boxes with unnaturally large word spacings. As an amateur graphic designer and autodidact, Godard’s layouts are synonymous with his art.

Godard’s fragmented narrative, cultural references and wordplay are reflected in the organisation of Masculin, Féminin. Described as a film about “the children of Marx and Coca-Cola”, Godard tells the story of their lives – ironically, the movie was censored in France for anyone under eighteen, exactly the group of people it was made for.

Masculin, Féminin, 1966

10 películas que influenciaron el cine de Jean-Luc Godard

https://moreliafilmfest.com/10-peliculas-que-influenciaron-el-cine-de-jean-luc-godard

Considerado uno de los grandes exponentes de la cinematografía, Jean-Luc Godard ha construido un universo de imágenes que, además de su bagaje previo como crítico de cine, ha retomado aspectos fundamentales de otros creadores. El British Film Institute (BFI) publicó un listado de 10 películas que han influenciado el cine de Godard.

El hombre de la cámara (1929), de Dziga Vertov

Es difícil señalar las películas que influyeron en el trabajo posterior de Godard cuando empezó a distanciarse del medio y se concentró en la filosofía y la teoría marxista. Sin embargo, en 1968, cuando Godard y Jean-Pierre Gorin reunieron a un pequeño grupo de maoístas para formar el grupo Dziga Vertov, la influencia colectiva detrás de su actividad política fue más fácil de aislar.

Con el tiempo, Gorin declaró: “El nombre del grupo fue originalmente una broma, pero al mismo tiempo fue, por supuesto, un acto político estético”. Godard y Gorin sintieron que la estética de Vertov fue más revolucionaria que la de Sergei Eisenstein, pues la narrativa, el desarrollo del carácter y el realismo dramática fueron ideológicas. Gorin declaró: “Adoptamos el nombre de Vertov después de una cuidadosa reflexión. No queríamos la vulgaridad de la narrativa. Si hay caracteres, es burguesa.”. La estética de Vertov ayudó a dar forma a los cortos socialistas-idealistas que el grupo crearía a finales de los años 60, y la participación proactiva de Godard en la lucha de clases.

ManOrphée (1950), de Jean Cocteau

Hay un rumor que dice que cuando Godard llegó por primera vez a París exclamó: “Seré el Cocteau de la nueva generación”. Cierto o no, hay muchas pruebas por escrito y entrevistas con Godard en las que reconoce su profundo respeto por Jean Cocteau. Fotos de Cocteau en diferentes etapas de su vida se pueden observar a lo largo de King Lear, aunque el mejor lugar para encontrar esta influencia es en Alphaville (1965).

Godard, inspirado por Red Desert (1965) de Michelangelo Antonioni, inicialmente quería hacer una adaptación de I am legend de Richard Matheson, sin embargo, filtró diversos elementos del cine de género para crear una película mucho más alineada con Orphée, la actualización de Cocteau al mito de Orfeo. La búsqueda de Lemmy Caution por Harry Dickson en Alphaville es paralela a la búsqueda de Orphée por Cégeste en la película de Cocteau. Con el uso de la poesía de los dos protagonistas para vencer a sus enemigos, se alinea la inteligencia de ambos directores, una mezcla de crítica social y su creencia compartida en la capacidad del arte para iniciar un cambio.

CocteuaJohnny Guitar (1954), de Nicholas Ray

En los 50, los críticos de Cahiers du Cinéma dirigieron su mirada a Hollywood, con Nicholas Ray, una innegable influencia en la Nouvelle Vague. Godard escribió su famosa reseña de Bitter Victory (1957): “El cine es Nicholas Ray”, una declaración que demuestra su admiración por un determinado tipo de cineasta disidente americano, así como su desdén por una nación incapaz de reconocer a los grandes artistas.

La influencia de Ray, aunque evidente en la obra de Godard, es difícil de aislar en sus películas; sin embargo, existen numerosas referencias a su trabajo. En Le Mépris (1963), el personaje de Michel Piccoli afirma haber escrito Bigger than Life (1956) de Ray, y en Pierrot le fou (1965), el personaje de Belmondo permite a su niñera ver por tercera vez Johnny Guitar porque “ella debe educarse por sí sola”. Se podría argumentar que el abrupto estilo de edición de Godard es en donde se observa la influencia de Ray, un argumento apoyado por la dedicación de Godard en Made in U.S.A. (1966), pues tanto Ray y Samuel Fuller “me enseñaron el respeto por la imagen y el sonido.”

JohnnyViaje a Italia (1954), de Roberto Rossellini

Viaje a Italia de Roberto Rossellini fue muy admirado por los críticos de Cahiers du Cinéma, elogiando su capacidad para unir el clasicismo cinematográfico con la autenticidad confesional de la realización de documentales. Godard estaba particularmente impresionado por el estilo íntimo de la película: “Una vez que vi Viaje a Italia, sabía que, aunque nunca fuera a hacer películas, podría hacerlas”.

Godard y Rossellini tuvieron una relación tempestuosa y no estaban de acuerdo en diversas cuestiones. Rossellini fue supuestamente hostil hacia la cinefilia, y Godard dijo: “Me encanta el cine. Rossellini ya no lo ama, está separado de él”. Sin embargo, la influencia de Rossellini fue un factor importante en la obra de Godard a lo largo de los años 60, especialmente en su quinto largometraje, Les Carabiniers (1963), basado en la obra I carabinieri del dramaturgo italiano Beniamino Joppolo. Rossellini hizo una versión de la obra en 1962, pero enfrentando críticas hostiles y quejas de carabineros reales, la policía militar de Italia. Según el biógrafo de Rossellini, el guionista Jean Gruault grabó una cita de Rossellini narrando la obra y se la pasó a Godard.

ViajeLa calle de la vergüenza (1956), de Kenji Mizoguchi

La obra de Kenji Mizoguchi tiene poca similitud con la edición de la animada e imprescindible obra de Godard. A pesar de sus diferencias estilísticas, ambos fueron atraídos hacia temas similares, por los que sus películas eran políticas y a menudo interesadas por la situación de las mujeres. El crítico francés Jean Douchet dijo una vez: “Vivre sa vie habría sido imposible sin La calle de la vergüenza, la última y más sublime película de Mizoguchi”.

Mizoguchi utilizó el cine para crear atmósferas, dando al espectador un portal dentro de la propia película. Es esta transformación de estilo que hizo un llamado estilístico a Godard. La preferencia de Mizoguchi por los tiros de grúa durante las escenas de violencia dio a la cámara una presencia inquietante, que permite al público observar desde la distancia y así, dar un testimonio de la crueldad mecánica de la inhumanidad en la pantalla. El estilo de Mizoguchi permitió a Godard imponer un enorme efecto de distanciamiento de Bertolt Brecht (Verfremdungseffekt), sobre todo en la famosa escena de Weekend (1967), una secuencia de siete minutos destinados a sacudir al espectador pasivo hacia una confrontación con la brutalidad de la sociedad de consumo.

La-calleForty guns (1957), de Sam Fuller

Durante una escena de la fiesta en Pierrot le fou, el personaje de Jean-Paul Belmondo pregunta a Sam Fuller: “¿Qué es el cine?”, y él responde: “El cine es como un campo de batalla: amor, odio, acción, muerte… una palabra: emoción”. La respuesta de Fuller conmovió a Godard. Fuller, que no sólo dirigió sino que escribió y produjo sus propias películas, fue otro de los directores americanos que Godard defendió en las páginas de Cahiers du Cinéma, admirando su cine brutal, político y pesimista.

Godard asimiló el estilo cinematográfico de Fuller, su diálogo sostenido, los primeros planos y la inventiva dentro de las limitaciones del cine de género. Además, Godard pudo retomar el rifle de Eve Brent en Forty Guns para Breathless. El brusco e inteligente enfoque de cine de género de Fuller se convertiría en el escalón artístico entre el cine estadounidense que admiraba la Nouvelle Vague y el enfoque de cine posmoderno que Godard desarrollaría más tarde.

forrtyPickpocket (1959), de Robert Bresson

En su top 10 para Cahiers du Cinéma de 1959, Godard colocó a Pickpocket (filmada en las calles de París al mismo tiempo que él filmó Breathless) como la mejor película del año. A pesar de que el cine espiritual de Bresson es opuesto a las creencias seculares de Godard, su influencia sobre Godard fue profunda y duradera. Aunque el director francés afirma que Pickpocket fue la principal inspiración para Le petit soldat(1963), la influencia de Bresson es quizá más evidente en Vivre sa vie (1962), el trágico retrato de Godard de una vida contada en 12 escenas creadas para mostrar en lugar de explicar la difícil situación de su joven protagonista. Este intento de ‘objetividad’ cinematográfica no es diferente a lo que se ve en Pickpocket, en donde la austera narración de Bresson sólo muestra lo que es necesario para obtener un punto de vista ‘objetivo’.

PickpocketLife, and Nothing More… (1992), de Abbas Kiarostami

Godard dijo: “El cine comienza con D. Griffith y termina con Abbas Kiarostami”. Hay elementos de los trabajos anteriores de Kiarostami que claramente conforman el periodo posterior de Godard, en particular su película de 2004, el ensayo poético Notre musiqueLife, and Nothing More… obliga al público a explotar la línea entre la realidad y la ficción con el uso del documental y el docudrama, y por tanto, cuestionar la posición del autor mediante la inserción de un personaje de ficción como un sustituto de sí mismo.

Una influencia importante sobre Godard fue el ensayo de Bazin de 1945 The Ontology of the Photographic Image, con su idea de que todas las imágenes filmadas son, por definición, la realidad filmada, definiendo gran parte de la obra de Godard. Este se convertiría en una inspiración mucho más rica para la yuxtaposición entre no ficción y ficción de su obra tardía, una manera de explicar su gran elogio por Life, and Nothing More…

LifeLa lista de Schindler (1993), de Steven Spielberg

En 1967, la secuencia final de la enigmática y audaz Weekend anunció el “Fin del cine”, y no sólo marca el fin del periodo narrativo y cinematográfico en la carrera de Godard, sino su rechazo de la industria en su conjunto. Es difícil establecer claramente las influencias en su obra más vanguardista; sin embargo, un punto muy publicitado en sus películas fue su ira por La lista de Schindler, de Steven Spielberg.

Cuando el Círculo de Críticos de Nueva York quiso homenajear a Godard en 1995, él se negó mandando una lista con nueve aspectos del cine estadounidense que fueron incapaces de influir en el cine. Lo primero en la lista fue el fracaso “para evitar que el Sr. Spielberg reconstruyera Auschwitz”. El fracaso del cine para prevenir o registrar los campos de concentración han sido una de las principales preocupaciones de Godard y uno de los temas principales en Histoire(s) du cinéma (1988) y en Eloge de l’amour (2001). Godard consideró la reconstrucción de los campos de concentración el motivo de la narración una obscenidad y se esforzó por corregirlo con su trabajo.

ListaFrom Caligari to Hitler: German Cinema in the Age of the Masses (2014), de Ruediger Suchsland

Hay una gran probabilidad de que Godard aún no haya visto la adaptación de 2014 de Rüdger Suchsland al libro del influyente sociólogo Siegfried Kracauer, From Caligari to Hitler, el material de origen para Germany Year 90 Nine Zero (1991), y la clave para entender la fascinación de Godard con la interacción entre el cine y la historia.

Parte narrativa, parte ensayo, sobre la historia y la política alemana, Germany Year 90 Nine Zero, establece los paralelismos entre la caída del muro de Berlín y la era Weimar en Alemania. En el acto final de la película, The Decline of the West, Godard inserta clips del cine de la era de Weimar. Las escenas de Fritz Lang en The Testament of Dr. Mabuse (1933), señalados en el libro de Krakauer, unían el cine expresionista con la llegada del régimen nazi. Godard no replica el análisis de Krakauer en su totalidad, pero utiliza películas de la década de 1920 para entender la situación incierta de Alemania después de la caída del muro. La idea de que el cine persigue la periferia de nuestra historia colectiva, silenciosamente documentada e intuida por nuestra vida, es una tema que prevalecerá en todo el trabajo posterior de Godard.

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