Pièce Touchée (Martin Arnold, 1989) VO

[lapsus]

Leyendo sobre reapropiación, foundfootage, falso documental etc... he encontrado referencias a Martin Arnold. Os copio un trozo del libro que comenta su obra Pièce Touchée:

"Martin Arnold ha deconstruido un único plano de un largometraje. (...) Cada fotograma de estos 18 segundos de la película The Human Jungle (de los años 50) se convierte en protagonista en la película. Mediante una impresora óptica diseñada por él mismo, con la que se reproduce cada fotograma en todas sus posiciones (iquierda, derecha, arriba, abajo), y al cabo de dos años de trabajo con un total de 148.000 imágenes individuales, Pièce Touchée nos muestra una nueva interpretación del espacio y del tiempo fílmicos (...).

La escena se seleccionó con premeditación. La arquitectura luminosa del Hollywood clásico, la precisión de la dirección de los actores, etc: todo ello contribuye a la belleza de la película, tanto como lo arcaico de los hechos: el encuentro de los sexos, con su mímica y sus gestos ritualizados, el tema narrativo de una historia humana sin más. Pièce Touchée es un homenaje irrespetuoso que muestra ambas cosas: la materia de la ficción y su desmontaje." Peter Tscherkassky.

Lo bueno es que hay elink:

Pièce.Touchée.1989.Martin.Arnold.Xvid.avi
Piéce Touchée, 1989, 16 milímetros. Blanco y negro. 15 min.


Entre varios premios, se llevó el primer premio en la 2ª Semana de Cine Experimental de Madrid allá por el '92.
-9,2 puntuación: IMDB.

Hay 1 o 2 fuentes completas pero estamos unos cuantos parados en 35 mb.

Y un poco mas de información que siempre va bien. Ojo! recopilado de la red, pero así queda más claro de que va la cosa:

BIO: Martin ARNOLD was born in Vienna, Austria in 1959. He studied Psychology and Art History at the University of Vienna. Since 1987, he has been a free-lance filmmaker. He has won many international awards for his films, including Pièce touchée (1989), Passage à l’acte (1993), Don’t – The Austrian Film (1996), and Alone. Life Wastes Andy Hardy (1998).

LINKS:

http://www.r12.at/arnold/pages/bio_film/bio.html (BIOGRAFIA Y FILMO)
http://www.arte-tv.com/emission/archive ... 63&lang=de
http://www.avantofestival.com/avanto200 ... rview.html (entrevista)
http://www.moviemail-online.co.uk/films/11848 (DVD que recoge su obra).
http://www.brightlightsfilm.com/25/martinarnold.html (Revisión a su obra, comentarios de los videos)
http://www.r12.at/arnold/pages/alone/alone.html
Aquí se puede ver un fragmento de su pieza: Alone: Life Wastes Andy Hardy (Austria, 15m, b/w, 1998) parece buenísima, Además sale Judy Garland reseteada.....
y aquí un enlace:
Alone.Martin.Arnold.mov (son solo unos segundos).

Un Saludo!

[marcambit]

Suena wapo!

Lo del foundfootage suele tener muy buenos artistas, igual porqué están más concentrados en cconvertir que en crear desde cero, no lo sé, pero he visto cosas muy wapas que estoy intentando rescatar de unos apuntes de Historia del Arte de mi novia. Ya os contaré.
Y gracias lapsus por el elink!

[LauRíSTiCa]

Suena requeteflipante... pero no hay fuentes completas, no? O al menos yo no las veo. Habrá que contactar con ellas para que compartan esto hasta q esté bien distribuido.
Yo ya he clicado.
Gracias por descubrirme estas cositas.

[lapsus]

Si que suena interesante si . Por cierto ya que comentas lo de esos apuntes Marcambit un buen libro que quizás conozcas y que revisa muchos autores que tocan el tema es : Desmontaje: Film, Video/Apropiación, Reciclaje. De Eugeni Bonet con textos de William C. Wees y otros autores.

Si os interesa os dejo la lista de artistas que salen representados en dicho libro:

John Adams
Gleb y Igor Aleinikov
Martin Arnold
Stuart Baker
Craig Baldwin
George Barber
Gianfranco Baruchello/ Alberto Griffi
Alan Berliner
Wallace Berman
Han Bierman
Dara Birnbaum
Klaus vom Bruch
Adrian Brunel
Jean-Claude Bustros
Peter Callas
Abigail Child
Bruce Conner
Joseph Cornell
Duvet Brothers
Emergency Broadcast Network
Ildiko Enyedi
Marcelo Expósito
Jean-Paul Fargier
William Farley
Ken Feingold
Betty Ferguson/Joyce Wieland
Jeanne Finley
Cécile Fontaine
Hermine Freed
Gorilla tapes
Ken Jacobs
Tom Kalin
Gary Kibbins
Maurice Lemaitre
Arthur Lipsett
Ardele Lister
Jorge Lozano / Christa Schadt
Len Lye
Norbert Meissner / Mike Krebs
Edward Mowbray
Matthias Müller
Muntadas
Hank Bull
Gunvor Nelson / Dorothy Wiley
Joan Rabascall / Benet Rosell
David Rimmer
Jozef Robakowski
Jay Rosenblatt
Martha Rosler
Jayce Salloum/ Elia Suleiman
Keith Sanborn
Jason Simon
Henri Storck
Aldo Tambellini
Jerry Tartaglia
Francesc Torres
T.R. Uthco & Ant Farm
Teresa Wennberg
Mark Wilcox
Ivan Zulueta

Muy recomendable. Creía interesante dejar constancia de una amplia lista de autores relacionados en cierto modo con el tema principal del post. No me peguéis por la extensión del mismo

Tambien la revista Archivos de la Filmoteca dedicó un número al tema, que me parece muy acertado.

Por lo de si hay fuentes completas? Pues yo si que he visto alguna pero parece que nadie le consigue sacar nada.

Hasta próximo aviso.

[pilotprix]

martin arnold is one of the best filmmakers in today's experimental movie world. please, remember that he's doing his repeatative films using only hands and celluloid film - it means - "piece touchee" took him almost a year to create. that's not easy digital stuff... i've heard once great speech on him by prof. william morris (expert and author of new released biography on fischinger) who died few days ago...

i'll share soon some more of arnold's great films, please write what quality is the one you've got now - if it's not good - I'll share that too

prix

[Luxor]

i'll share soon some more of arnold's great films, please write what quality is the one you've got now - if it's not good - I'll share that too

prix

Pues si que podia compartirlo, si. Porque lo que es este ripeo no se baja ni pagando, llevo a falta de 64 Mb desde hace semanas y de ahi no pasa.
Please pilotprix share your rip of Pièce Touchée

[LauRíSTiCa]

Pozí. No estaría nada mal q lo compartiera cuando volviera de vacaciones.
Yo traté de hablar con esa fuente completa q hay de vez en cuando para q suba la prioridad y no me hace ni p*caso.
Además si previsualizais, al ppio del ripeo hay una nota diciendo que se acaba antes de tiempo; vamos, q falta un cachito del final.

[marcambit]

Gracias lapsus por los apuntes de autores. Hay algunos que ya han pasado por la piedra del ZXZ, eh?

[lapsus]

Lo tenía pausado desde hace un tiempo, y he visto que ya hay al menos una fuente completa. ¿¿Alguien se lo descargó en su día y podría volverlo a compartir para que fuera más fluído??, quedan poquitos megas.

Le tengo muchas ganas a este trabajo.

Gracias lapsus por los apuntes de autores. Hay algunos que ya han pasado por la piedra del ZXZ, eh?

Pues si, no se nos resiste nada Y los que caeran.....

i'll share soon some more of arnold's great films, please write what quality is the one you've got now - if it's not good - I'll share that too

Alguien que domine las relaciones internacionales podría comentarle a Prix que pasó con tal ofrecimiento??? (Aunque viendo lo muertos que están los cortos de Müller, podemos ir esperando).

Saludos!!

[lapsus]

Hablé con la fuente completa, y ya tengo el archivo en mis manos: Informo para quien lo tenga en pausa, que ahora es buen momento de despausar y acabar con los pocos megas que faltaban. Lo pongo en lanzamiento.

A ver si salen más piezas de Martin Arnold

Saludos!

[LauRíSTiCa]

Veo ya algunas caras conocidas con el archivo completo.
Yo lo cancelé víctima de la desesperación y ya lo había dado por perdido, así q muchas gracias x avisar lapsus.
Ahora ya llevo de nuevo 180 mb, pero no la dejeis de compartir x favor q tengo muchas ganas de verla. Y claro, si de paso me podeis dar un empujoncillo para acabar de bajarla pronto, pues mejor que mejor.
Saluditos.

[Fitzcarraldo]

[quote]Movies have so much in common with dreams that one of Hollywood's most enduring nicknames has been "the dream factory." Of course, there's a downside to every dream, and something closer to the nightmare evolved alongside the safe thrills and romantic fantasies of cinema from the beginning. While some audiences were mesmerized by the novelty of early filmmaking, others bolted at the sight of a giant cinematic locomotive steaming fearlessly toward them. And this trend never really let up. In the '70s, stoic theater managers had to spread kitty litter in the aisles at screenings of The Exorcist to catch patrons' vomit as they stormed out of the theater. Even supposedly seasoned audiences can still be frightened by the power of 24 frames per second: witness the queer stampede from Todd Verow's grim Frisk at the Lesbian and Gay Film Festival a few years ago, or war vets' tales of grisly flashbacks at screenings of Saving Private Ryan.

Filmmaker Martin Arnold, born in Vienna in 1959, takes this trend in bizarre new directions in a series of short black-and-white experimental films that restore much of the novelty, terror, and surprisingly, humor, of early cinema. Using elaborate optical and aural manipulations, he turns scenes from old Hollywood movies starring the likes of Judy Garland and Gregory Peck into hilariously weird, black-comic nightmares. The footage he quotes is in itself unremarkable — a man walking into a room where a woman is reading, a middle-class meal, a romantic interlude between Judy Garland and Mickey Rooney — but he does ultra-precise (frame-by-frame) edits that endlessly repeat the characters' tiniest movements, so they're constantly, frustratingly on the verge of something that never seems to materialize. For some viewers, these "compulsive repetitions" will have the effect The Exorcist did on some terrified Catholics; others will find Arnold's sleight-of-hand hypnotic and rewarding.

piece touchee (1989) is a brief exegesis of a woman reading and a man coming to visit her. This footage comes from an unidentified movie from the 1940s, and opens innocently enough with the woman sitting in a chair enjoying her book. There's no movement at first, but this is deceptive; an almost imperceptible motion starts to happen with her hand moving slightly up and down, a sign of the slight agitation that eventually explodes as something attempts to open the door. Suddenly this homely scene takes on the feel of a horror film, with what may be a monster repeatedly, terrifyingly straining at the door. Arnold builds on this arid atmosphere of entrapment and incipient chaos to the point where a kind of vertigo sets in. In a literally dizzying sequence, Arnold introduces maniacal flash-cuts and repeatedly replays and interrupts a scene in which the camera pans across the woman rising and the man walking; this will have some viewers holding their chairs.

passage a l'acte (1993) makes a simple breakfast scene from To Kill a Mockingbird look like a surrealist nightmare. The 1950s family is the target here. Those who know the film will recognize the characters as a father, his two kids, and a neighbor woman, but the film transforms them into a crazed version of the postwar family. While "Mother" sits with a frozen smile and Father (Gregory Peck) reads the paper, sonny boy gets up from the table and opens and closes the screen door repeatedly. The slamming of the door sounds like gunfire, hinting at an unnamed aggression occurring somewhere just outside this sacred space of the '50s home and perhaps at disturbing forces at work within this family. Arnold's exploitation of these characters is pitiless; like an evil puppeteer he repeats a shot of Gregory Peck screaming words and parts of words to stultifying effect, while the son twitches back and forth with some unknowable frustration and the daughter makes gutteral noises that attain a kind of robot rhythm.

Arnold's most recent work, Alone. Life Wastes Andy Hardy (1998), stitches together a strange sexual scenario from three of the Judy Garland-Mickey Rooney vehicles. In the opening scenes, Andy embraces his aging mother, but subtle repetitions give this homespun scene an unexpected erotic charge. Arnold brazenly rechoreographs Andy's movements to make it appear he's humping the old gal from behind. Meanwhile Judy is singing in another room, but it's no ordinary song. She's made to emit disturbing "peeping" noises, sing backwards, and lingers on phrases like a stuck record: "There must be someone waiting … waiting … waiting … waiting …" The effect is both comic and chilling, as she stands pathetically with outstretched arms waiting for Mickey, who, perhaps because he's just left his mother's bed, never quite connects with poor, frustrated Judy.[/quote]

[quote]4:00 PM, Vinegar Hill
piéce touchèe (1989), 12 min. passage á l’acte (1993)/ 16 min.; Alone. Life Wastes Andy Hardy (1998), 15 min.

Arnold is renowned among experimental film afficionados for his ability to transform short, ostensibly insignificant shots from old Hollywood movies into modern experimental works of hyperactive genius. By working with extreme slow motion, Arnold is able to unearth submerged footage within these very familiar scenes. Arnold’s breakthrough film, piece touché, is based on a single 18-second shot, diligently edited frame-by-frame into an elaborately choreographed, chaotically fractured dance. Perhaps the most intriguing aspect of Arnold’s films is their effect on audiences. The subconscious becomes reality as viewers embrace the ambiguity of Arnold’s reimaginations to formulate their many unique interpretations. Arnold will screen three of his films as well as documentation of his recent video installations.[/quote]

[alchemist]

Thanks a lot... Completed. Looks interesting...