Rash From Makeup Removers

Notes on the footage found in the last

Raiders of the lost frame

Chaplin even more than forty years of dead has continued shocking the world of cinema. In 2009, a collector named Morace Park bought by e-bay, the measly price of four euros, a tin with ribbons undefined in the encountering ended, to their surprise, Zepp , first period film Chaplin, who had circulated for several mouths of filmmakers as only a myth. The film, presumably because of disputes with the study that was conducted had remained buried, not only did the innocent exponentiate investment Park (the movie was over tasándose in 45 thousand dollars), but opened the floor for immediate and future discoveries. Not long later, in 2010, one of the biggest news of cinema wrapped back to the figure of Chaplin. In a sale of antiques, a collector bought for a hundred dollars a reel of acetate that was A thief catcher, produced in the studios Keystone in 1914, being able to locate it from one of his early films (considering his autobiography, which marks the beginning of his film work in the same year), and most of all, the first who plays the archetypal character Charlot. When they seemed to have Chaplin for a while, in the same 2010, George Clarke, a European film director discovered, not another movie, but a detail in it that generated new questions and debates (at least extracinematográficos): in Circus, film, 1928, in a moment of film can be found in a corner of the screen, a woman, an extra, talking on a cell phone. Clarke, in his video posted on YouTube is dedicated to happen again and again the video in slow motion or frame by frame and gesture and the object that carries the woman against her ear looks like an artifact brought by a time traveler .

Regardless of the veracity This last fact, the idea of \u200b\u200bthis selection of events "linked to one of the most emblematic figures, not to say," the flagship "of the film, tries to introduce the idea of \u200b\u200bhow the cinema, in whatever form , seems to have no end or timeout determined not only by demonstrating their ability to re-read, rediscover or reinvent ideological, or semiotics, but also in its ability to rise from the ashes, in the same format material.

Get up and walk

The appointment is a case of a selection of films that included on the grid in the near end XXIX Film International Film Festival, which has as its vedette last night (Friday to 17hs in Film Chamber, accompanied by piano Stephan Graf von Bothmer) with the latest restored version of Metropolis, film history, according to the spirit of his megalomaniacal director Fritz Lang (which costs practically creating a model city to the extent of their fanciful ideas, almost became fused to the UFA just before it was taken by the Nazis as the official center of production of propaganda films), seems always unfinished, as a web of Penelope who returns to take shape in each of their rediscovery and reconfecciones. The rediscovery of the stories commonly known as Lazarus Movies (echoing the biblical reference) are often as interesting as the films themselves. In addition to the above-mentioned case of Chaplin, often finding the films may abut a private spy, tracking forgotten and half-buried rolls around the world. Such is the case Atalanta (1934), a film which, after the abrupt death of Jean Vigo (who filmed during the shooting plagued by sepsis, ultimately prevents seeing the final result), was never adapt to its author's original ideas, being dismembered and even renamed a bunch of times (note that in the thirties and forties this was not a strange practice, studies have made several versions of the film to be adapted according to the nature different markets and countries where they thought to place) and should, for after all, so many rolls as versions of the work. Discovery scenarios also can be more intricate, as is the case of The Passion of Joan of Arc , considered by many the best movie ever, which was practically lost to be found in the cleaning tank a hospital Psychiatric Norway, for a caretaker virtually devoid of any knowledge of cinema. Even Uruguay was the scene of similar findings, having found in 1994 China's love and duty , Bu Wancang, played by Ruan Lingyu in 1931-a few years before the actress committed suicide with barbiturates. Whatever the story behind the discovery, the already dazzling Lang film has lost twenty-five minutes to fill some holes in the script, giving greater depth to some secondary characters, and allowing some new ideological reinterpretations.

countries

Building

Clearly, the rediscovery of the film is not simply preserve, where dinosaur fossils, which had remained intact over time. The film, the effect and producer of culture, as a porous membrane semiotic not only change itself according to the times when it is rediscovered or reexhibido, but also has the power to transform the time in which the discovery inserted. Among the other films that make up the selection of recovered Film: Traces of celluloid , we find films like Babelsberg east to west (which seems, at some point, An interesting addition to the screening of Fritz Lang's film, considering that reviews the history of the legendary studio where the film took full form German expressionism), Komunisto Cinema (which also goes back to the rise and fall of a movie studio - more than study, a cine-citta, which are the Avala Film Yugoslavs), In the trash Channel 4 (which recreates the particular history of Paraná Brazil, since the 60's to 80's after the discovery of a pile of scrolls found in the trash of the studies, and fire survivors and evils of all kinds) and Fantasy Lusitana (a portrait little known of Portugal neutral during World War II). These four films drink from the font style found footage, military films from found footage, mostly altered and edited, giving new resonances and meanings. For these films have a proper historical and political horizon, see a world that was, but that reading is trying to rethink this question. Cinema Komunisto in particular, presents a particular idea of \u200b\u200ba movie created from almost nothing, a country that never existed, or at least did, or illusion to be, during the life of Marshal Tito, the large element coagulant, soon his death, proved to be the single screw that held a melting pot near dynamited. This idea of \u200b\u200bcinema as forming a nation should not only think more of classical rhetoric propaganda film, one might say that, without going too far, the whole building, not only us but the U.S. itself has done itself, is a mirror of Hollywood, base construction and remains day to recall the famous "American Dream." This film Serbia, which does not go so far in their choice by -found footage is properly formatted documents, inserting images collected features interviews with people linked to the great machinery of Avala Films, could be considered, in some ways, a prequel to the brilliant and experimental bye, how are you? by Boris Mitic (who won a mention in the documentary section of International Film Festival last year), based on articulated aphoristic found footage and some sayings of the area, but focusing on Yugoslavia (more than nothing, Serbia) post 1991.

The construction of memory and the debate, carried in neuroscience terms of what information must be retained and what discarded film through the garbage in the Channel 4 still remained attached to the joint present-past, interspersed with interviews. In this sense, the most played stylistically these films more political and historical stamp is Fantasy Lusitana (Joao Canijo, 2010), which was never clear from the images and sound file, making in its release, an interesting counterpoint , a radical ambiguity and never defined, between the artificial oasis, the fantasy setting, one might say, that was the Carmona and Salazar's Portugal, with the nature of the government, anti-fascist and clerical (the scene circular end of the filming of Christ the Redeemer seems to say much more than what is shown). Canijo chooses to say nothing specific that government, embodied only have the voice of some European refugees during those years became Portugal in a multicultural metropolis (including the voice of Fassbinder muse Hanna Schygulla). In any case, the criticism comes from a floating but powerful, as we see the ruthless version of Jean Vigo Nice About Nice (1930).

Finding Oiva

However, the big movie Retrieved Film is Shadow of the Iceberg, directed by Antti Seppänen, Finnish when we had the good fortune to meet during his visit to Montevideo for the festival. The same director has in his film, only made of photographs and found that a day at a flea market in Helsinki, he came across a box full of 8mm tapes, which when played at home, discovered as a real treasure, a lot of images collected by the same mysterious person who appears to have collected scenes throughout the globe for long years. Cairo, Eastern Europe, North America, El Perito Moreno, the ghostly character, discovered later in life as Oiva (and which led the director to get information up documentation for the army, where he got to own letters sent by the mysterious man) seems, as being everywhere, never having been to none, as if their efforts to continually trip is anchored to a certain longing for dematerialization. The film is not only the reconstruction of an uncertain character, which is more fascinating to the extent that is true for other blind spots, "but a world apart and restated on the dissecting table. Oiva's eye-Seppänen, 8mm shows us another world, similar to those offered Chris Marker in Sans Soleil , and most of all the re-foundation and New York new taxonomización made by Jem Cohens in Lost book found (where, similar to the case of Finland, after the discovery of a notebook made of obsessive anonymous lists of places and objects of the city of New York, these are the same director to go after them, capturing them in a completely different). Seppänen editing, meticulous, but never cold, and very helped by the perfect soundtrack-is, for the writer, the best thing was to exhibit at this festival.

Our airship

The inclusion of films made by the technique of footage found at the last festival can make the precedent of experimental cinema that usually does not run on billboards in our cinema. Most of the movies that came, are settled in a way to capture the memory, but not as well as use the feedstock material found itself to be deconstructed and form completely different entities (in this type of film, more anchored in the documentary form, is opposed Tscherkassky films, and Martin Arnold, who play with the same deterioration of the film as very edge of reality). It seems a strange and distant issue, but note that, in the true roots of Uruguayan film (at least newer), is This obsession with finding something that not only consistency we as a nation, but what can be built from it. After all, the airship was nothing more than that, the desperate search sometimes awkward-of images, some frames were missing to complete the history of our country. This is too immediate and the future is too far. The only thing you can change is the past. Let's wait.