discovered not long ago when I saw Theodorus Angelopoulos Step of the Stork (1991) and Ulysses' Gaze (1995). I was surprised to see his choreography, its atmosphere, its elliptical rhythm and strange and mysterious lyricism. Understand why being so honored was so little known by the public. And once, last year, talking to my countryman, poet, filmmaker and essayist, laboyano Omar Ardila, I asked him to write something about the magazine Angelopoulos Sheets University, and suddenly, making a series of films for Cinema Club Central University, who directs Ivan Acosta. And the time has come. This is the week of Theo at the Central University Film Club (Calle 22 No. 5-91). Transcribe the notes that Omar has written for the cycle, which cites the films will not repeat any, from Monday to Saturday afternoon and night with free admission on Saturday: "In the week running from 21 to 26 February in the film club of the Central University of Bogotá, will present a retrospective of Greek director Theodoros Angelopoulos, who is undoubtedly one of the greatest living directors of world cinema. This is a great opportunity to reach a larger work, because in each of Angelopoulos's films are, rich aesthetic, thematic coherence and a clear willingness to renew and revitalize the universe film.
Angelopoulos's work departs from the conventional narrative to settle in the vicinity of the "cinema of poetry", the suggestive proposal develop conceptual Pasolini, after finding the specific film in the "free indirect subjective, with which we can establish a relationship with the image through a process that is purely stylistic but not linguistic.
Angelopoulos's films also is a film that crosses borders (the myth and reality, past and present, of stillness and movement, silence and sound, as the Greek and foreign) and is located on the surface, where flow more intense local resistance such outbreaks, which spread by contagion, rapidly reaching global dimensions.
In this retrospective, we know the debut Angelopoulos ( Reconstruction, 1970) Historical Trilogy ( Days 36, The Travelling Players and Alexander the Great ) with its epilogue, hunters. Also visualize the Trilogy of Silence ( Voyage to Cythera, The Beekeeper and Landscape in the Mist), and finally, two films from the nineties ( Ulysses' Gaze and Eternity and a day ), with which, the Greek director position itself in various cultural fields as a director of global interest. "
The retrospective will be accompanied by a conference," Theodoros Angelopulos: the poetics of travel ", by Omar Ardila, which will address the work of Angelopoulos and all connected by the dynamics of the trip (interior, poetic, historical, political and aesthetic).
Angelopoulos's work departs from the conventional narrative to settle in the vicinity of the "cinema of poetry", the suggestive proposal develop conceptual Pasolini, after finding the specific film in the "free indirect subjective, with which we can establish a relationship with the image through a process that is purely stylistic but not linguistic.
Angelopoulos's films also is a film that crosses borders (the myth and reality, past and present, of stillness and movement, silence and sound, as the Greek and foreign) and is located on the surface, where flow more intense local resistance such outbreaks, which spread by contagion, rapidly reaching global dimensions.
In this retrospective, we know the debut Angelopoulos ( Reconstruction, 1970) Historical Trilogy ( Days 36, The Travelling Players and Alexander the Great ) with its epilogue, hunters. Also visualize the Trilogy of Silence ( Voyage to Cythera, The Beekeeper and Landscape in the Mist), and finally, two films from the nineties ( Ulysses' Gaze and Eternity and a day ), with which, the Greek director position itself in various cultural fields as a director of global interest. "
The retrospective will be accompanied by a conference," Theodoros Angelopulos: the poetics of travel ", by Omar Ardila, which will address the work of Angelopoulos and all connected by the dynamics of the trip (interior, poetic, historical, political and aesthetic).
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