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Readings, 2009

"thoughtless men are careless readers, and only reflecting men are careful readers.
Leo Strauss, Persecution and the art of writing .

"Lucy closed the door and lit the lamp. Only had an evening dress, the black gauze wore to go to concerts. However, he thought, if he wanted to have dinner with a well-dressed woman could ask her a lot. Sebastian and must have known that she did not have many clothes, and if he did not care, it should not matter. Even so, it would have given anything to have something new to wear for him. "
Willa Cather, Lucy Gayheart.

"America was still, or that part of America, at most, a land in which the dream of a golden age or return to primal sources had not disappeared from the accounts and luck to those who surrender men ".
faretto Angel, Tempest and Assault .

"The splendid beauty belongs to a religious, fascinates and attracts the spirit at the same time arouses awe. Wake up the mystery of being as much as waiting for the spirit worship. It transports us to a time again, not ill at ease about their future uncertain, but quiet, invites us to join our mystery and the being delivered. The experience of beauty gives birth and the experience of reality, which are allied to the spirit and the body in the crossing and the consolidation of their respective dynamics.
Paul Gilbert, Metaphysics of Being patience.

"Since the first thing for us is not a philosophical understanding of the city but the understanding inherent in the city itself, the city prephilosophical, by which the city is itself subject to and conditional upon the divine in the interpretation power of the divine or which raises its gaze toward the divine. Only starting from this point will be exposed the full impact of the question of fundamental importance, coeval with philosophy although the philosophers do not often speak out: the question quid sit deus .
Leo Strauss, City and man.

"Therefore, all that inspires dislikes the word dictatorship, and even suspect who they consider the scheme with the utmost objectivity, they have to accumulate against Donoso Cortes, and both he and those who try to make justice will reach the old Latin axiom rumor dictatoris inicundus bonis. "
Carl Schmitt, Interpretation Donoso Cortés European.

"Any attempt (and there are many) re-introduced today in a democratic age, a hierarchical order is doomed to failure, they stay in a romantic nostalgia or become a totalitarian nightmare, because the conditions cosmological, epistemological and theological foundations for a hierarchy were destroyed. "
Jacob Taubes, The cult culture.

"Because of this terrenalización of the infernal, as well as the renewed appetite for mystery and the increasing banality of evil, resurfaced aesthetic manifestations in the form of a passionate love matrix otherworldly, almost ecstatic, but developed very earthly. This earthiness turn or experienced as sublime pays the contradiction is a constant factor of the condition and melodramatic representation. Go through the opera, melodrama, thriller and melodrama theater, cinema and paid to the concept and extends along the poetry of Argentine tango. "
Angel faretto, Passion commands, status and representation melodramatic.

"The woman scorned, she misses her husband's life and imprisoned in a gloomy castle walls waiting for their return, an image remains firmly fixed in many minds, but is no more true than in the ponds servant waving to silence the frogs and other nonsense inherited from the days when the barbarism of the Middle Ages was an indisputable dogma. "Regine
Pernoud, Eleanor of Aquitaine .

"When ripe, the secret is expressed through signs, songs, stereotyped code rather than through a transparent discourse.
Philippe Ariès, memory tests.

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The editorial Djaen us about the new book Angel faretto : Passion sends, the status and representation melodramatic.

A book with a hundred doors and several twists and turns that converge in the same school.

A book mosaic, changing structure, impossible to classify (and tame) as mandatory specifications of modernity: it is a book of philosophy or history, or anthropology, or aesthetics, or theology, let alone film. In any case, this is a book that includes all. Or better yet, that makes all these branches of thought one and the same thing. The operating power of thought to circumvent the imposed solutions becomes even more transparent here.

A book that deeply and accurately define what the melodrama, which are aesthetic and spiritual characteristics, where it comes from, what their particularity within the concept of cinema, and what are the controversial positions of its time.

A book of historical analysis, cultural, political and spiritual about modernity in general and Argentina in particular from the vertical given by singularidades melodramatic defined.

A captivating book that between analysis, thoughts, references, quotes, names and descriptions of time, gives us much food for thought, discussion and implementation. To understand and enjoy.

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A recommendation


This

recommend something, I confess, it is winning them over to the laziness of this writer that the educational momentum or intellectual solidarity. The best that can cope with a remarkable aesthetic fact in this case a series of TV - is to analyze and then reveal the reason for that relevance. That is why if it is limited primarily to a recommendation, it actually is (I) avoiding the task.

With apologies for then, happened to recommend British miniseries Apparitions, which was originally issued in 2008 by the BBC . It consists of six one-hour episodes each, which tells the story of Father Jacob , priest carries out the task of investigating possible cases of holiness, until a series of events put him off the responsibility to take another job, which he initially wants nothing to do: be an exorcist. Jacob has a knack for performing exorcisms, and demons so afraid. When finally the manifestations of evil become uncontrollable, assuming its responsibility to fight the battle.

Let's say that after The Exorcist, William of Freidkin , all fiction that relates to the theme of this masterpiece will be no more than a footnote on page. Therefore, although there are some cases Post movies of Friedkin, not much remarkable material. In this regard Apparitions is a surprise: for good theological basis, by the intelligence which refers to certain themes-the relationship of Catholicism to other religions, for example, always from the particularity of the event narrated, without sounding crude and obvious though it falls in line to assume a clear position, the quality of their dialogue, the richness of his characters, for his exploration into the mysteries of the Faith, and above all, for taking the Evil serious and not a little game reduced to mere spectacle (as ninety percent of the films current horror.) And also because it is a very good story fantastic, really fantastic that conveys a lot of fear and genuine emotion, these feelings appear in front of the Other. Perhaps the negative side, has to be noted that the beginning is a bit bewildered, if the best in a tale of horror and fantasy is to go showing the emergence of the monstrous little by little, here is very fast, goes to steaks say without much preparation. But slowly the evil effect is left aside and imposing a very successful story.

Finally, a word to the best of the series: its protagonist, the huge and wonderful Father Jacob , played by Martin Shaw. His unwavering faith, his intelligence, courage, and each of their sentences (either against a superior, who would remember what is historically the Church when the speaker seems to want to deny it, or face a skeptical nun imposed by to control) make it one of the best characters TV has given and / or films in recent years. Someone who also saw the series, but believing something at odds with the church of Catholicism, I said something like, "if I find a cure as Jacob, I would all buts I have. " Without wishing to raise here a discussion on this position, I think this perfectly describes the empathy that can produce the character. For my part, I have saved in my memory several words and phrases, often short and blunt, as when he reminds the nun, and in decisive moments in history, the best thing you can do to help is to stay in the chapel and pray. "Prayer is the most powerful weapon we have." Father Jacob is-mainly-Fe entire teaching Anyway, I recommend looking Apparitions. A very good story fantastic. A great horror story (such as movies and rarely, very rarely, does count.) A huge religious melodrama.

Link to download http://www.taringa.net/posts/tv-peliculas-series/2585486/Apparitions--Temporada-1--Completa.html

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New Angel faretto: Exegesis of the class B

L to Walter Benjamin Foundation has cycle
Angel faretto
FILM CLASS B
A copy of a film concept

Films will be screened nine copies of the class B mode produced by Val Lewton between 1941 and 1946.

Cat People
I walked with a Zombie
Leopard Man
The seventh victim
The ghost ship
The Curse of the Cat
The body snatcher
The Isle of the Dead
Bedlam

Before each projection, Angel faretto state the main axes of articulated his conception of cinema with the characteristic features of the Class B mode seminar-workshop.
These axes are:

1. Defined as a mode of production
2. Second definition as a mode of representation.
3. Film types and variants of class B
4. Ages and exemplary works of cinema class B
5. Roots and cultural influences of class B movies
6. The horror, fantasy and detective

Information and registration
Walter Benjamin Foundation
Institute of Communication and Contemporary Culture
Lavalleja 1390, City of Buenos Aires, Argentina
Tel: (+54 11) 4833-7086, from 16:30 to 20:30
info@walterbenjamin.org.ar - www.walterbenjamin.org.ar

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Watchmen, Zack Zynder: denial, confusion and investment

Many things should the movies. In less than one hundred years was able to navigate, analyze, judge and then reconfigure the entire history of the West.

In this age of denial, confusion and investment, the film was (and is, as his works continue to operate beyond the time step, if we are able to see) a beautiful bridge that allowed the man Modern remember its origin, its tradition. Analogical thinking, the ability mythopoeics, terrestrial features (with strong emphasis on the heroic), the tragic condition and transcendent values \u200b\u200bwere elements that the film through his works, put back into circulation reconfiguring through diegesis "contemporary."

This reconfiguration was a necessary addition to any other act of acceptance by the film. What we agreed was the state of the world, its materialism and pragmatic mind. And so, accepting this fate, he was able to carry out this reconfiguration (intensifying what is done by Poe, for example).

But this reconfiguration always avoided the confusion, the allegory and the investment of those traditional skills. So, for example, see the deployment western Homeric heroism in other forms, reviving and constant action. So we also see the appearance in Hitchcock standing myths that are not named explicitly (although it will give us clear clues about it). The important thing, of course, not so much the fact of recognizing a particular myth relates how each film or scene shot by the Master as the transmission of funds to be of those myths.

The film then accept the condition of the world to simultaneously identify the exit doors, or the bridges that help us pass over this wasteland, or like James Cameron did not for many years, boats to survive the shipwreck.

Watchmen, a film adaptation of a popular and acclaimed comic, is the opposite of what we have been describing the film. Is a constant denial. On the one hand denies any narrative and aesthetic order. Instead of that order, imposes a chaos that overwhelmed with sounds furious and violent, dramatic and famous songs slow motion. The narrative breaks into subplots and flashbacks also overwhelm rather than enrich the story. And as if that were not enough, Watchmen seeks to compensate its spectacular empty with a solemn tone that runs through the nearly three hours it takes. It seems that there is a claim (Pseudo) philosophical film, with each character representing different positions. This was expressed in every dialogue, always delivered with a tone of gravity that leads to laughter. It talks about the perception of time, of moral principles, of Alexander, of pharaohs, there is a character with qualities that are supposed divine ... The operation is simple: the idea of \u200b\u200bdoing something prestigious quoting or naming certain issues which themselves are believed important, not realizing that in any case the important thing is to make these issues present something that unfolds before the viewer in operating state .
is, as shown, a hybrid, a celebration of the state of confusion by annulling the aesthetic and symbolic potential of cinema.

And confusion leads to investment. Believing that reflects on the heroic, that element is negated and reversed. There are no heroes ambiguous or conflicted. There is, without more, people with certain special abilities (physical, intellectual) unable to use them with virtue. Someone could say just what the film suggests is that in a world like that described in the fable is impossible such a thing. But that would require the appearance of any element that is in conflict with this (dis) order and whose will is defeated or prevented from developing. Nor is there any way conflict, or explicitly, much less symbolic. The doors are closed, collapsed bridges and boats sunk. Simply because there is more than possible. And it is the latter the cause of all evil in the movie.

may Watchmen scream that the world is rotten, ugly, violent, inexplicable. It does furious cry, getting noticed. But he decides to stay there, making massive show in a cynical conclusion. As cynical as all its characters.

Watchmen is one long advertisement for something that films with heroic and transcendent sense, always fought: nihilism.

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More bookmarks from Valkyrie

* Leo out there that Valkyrie (this is the local title) is an "average film." What is the average?

* This could only be asserted if the films used for such are the decade average of 50 '.

* Confronting different war, Hollywood movies always opted for another position . First from any prospect "historic" and "ideological." But above all these conflicts used as starting points, as potential diegesis to deploy a range of symbolic possibilities and to become universal and timeless values \u200b\u200bthat contain these possibilities. The heroism, understood as a function-be it transcendental or moral, is one of them. Valkyrie is.

* Actually, rather than making these values \u200b\u200buniversal and timeless, the film reminds us of the universality and timelessness of them.

* Valkyrie no way is a masterpiece. The average modern film can be confusing. Therefore we must be clear and insistent: it is a movie of the decade average of 50 '.

* Leo also: "... more heroism humanity, in a thriller film that puts the deep, unfathomable historical drama." This is that, of course, as an objection to Singer's film. If the author of the phrase would have understood the film would have used those words to write a sentence like, but surely appreciative.

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Notes for a future review of Valkyrie


· Valkyrie shows the way that a director like Bryan Singer should continue (as Christopher Nolan and David Fincher): one that avoids both the vices of entertainment as well as the temptation to be recognized as auteur.

· Valkyrie is, say, a studio film. In that it follows a classical spirit (in the Hollywood sense of the term) of narrative economy and interpretive.

• In Valkyrie all characters are defined by their actions. No psychologism. A couple of words, a couple of gestures, and how to act on the facts carefully defined each of them. And that constitutes, of course, the depth of the film.

· The events described in Valkyrie are, obviously, and in relation to what is called "historical truth", a little distorted. For example omits that the conspiracy against Jesuit priests were involved Hitler and members of the Lutheran church. But we know that when transformed into film, of course if this film is able to approach the concept of cinema-the "historical truth" can not be an evaluation parameter (except of course, nonsense is reached extreme as the de-forgiveness "The Da Vinci Code, where the idiocy and ignorance reaches cosmic levels, there is different, and, of course, that is outside the cinema, and any activity that is honorable.)

· Valkyrie is central heroic role.

• The constant appearance of the heroic element, its configurations and reconfiguration is a cornerstone of cinema.

• The Valkyrie hero Claus von Stauffenberg, a Catholic military in search of redemption. And that redemption is primarily including, but not only.

• The hero is the one who decides. Says very clearly: "I came to make decisions. And to help others to take. "

• A picture of the best shows Von Stauffenberg Valkyrie thoughtfully, while a mirror gives us back the image with a crucifix on his head. That we know what decisions respond HA. Before the movement of a pendant as a result of bombing, and background music of Wagner and We had anticipated the emergence of verticality.

· Wagner. Hitler tells von Stauffenberg in a meeting: "Whoever does not understand Wagner, National Socialism never understand." Had previously explained what are the Valkyries. The genealogy of delusions pseudomíticos a certain German thought is underlined in Valkyrie. Claus Von Stauffenberg's face from his faith and Christian heroism.

· In this confrontation, which through the operation of film aesthetics becomes a symbol of eternal conflict-born this good movie. Interesting and successful

friend Fabian comment on his blog: http://anotandocine.blogspot.com/

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Eleven years ago, ie on 17 February 1998, also Tuesday, died in Wilflingen, Ernst Jünger. He was 103 years.

What is the point to remember this date? It's just an excuse to remember. An excuse no coincidence, because today I was about to reread one of his books, and read the prologue noticed the coincidence of dates. As I said, no chance.
So that, an excuse to remind Jünger, to enhance the reading of his works. Back to your thoughts, experiences, imagination.
course it is not difficult to return to an author as well. It is, rather, inevitable. And necessary.
Jünger is the look of the twentieth century. Is the sharp and steady voice. Sometimes painful, always lucid, particularly beautiful in its deployment.

is an author who adheres. One carries it and have it there, near the ear. Always.
The wind wanted to blow often, very often, in the pages of this wonderful ambushed.