tag:blogger.com,1999:blog-55278249758439192302024-02-19T09:51:35.709+01:00Merzboymerzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.comBlogger29125tag:blogger.com,1999:blog-5527824975843919230.post-2600093055882603972010-12-09T14:13:00.005+01:002010-12-10T17:56:31.258+01:00<span style="font-size:180%;"><span style="font-weight: bold;">Heinz Emigholz - The Formative Years - PART 1</span></span><br /><br />An installation of seven films from 1972–77 at Hamburger Bahnhof – Museum für Gegenwart, February 2010. The films were originally shot on 16mm film and digitally restored in 2009 and thus made public again. For the first time this installation offers a complete picture of the coherences in this closed body of work.<br /><br /><br /><span style="font-size:130%;"><a style="font-weight: bold;" href="http://www.megaupload.com/?d=PGO5KON2">Heinz Emigholz - Brooklyn Bathroom Piece (1975)</a></span><br /><br /><div style="text-align: center;"><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7885581.jpg" id="img57705" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7886009.jpg" id="img42046" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7886672.jpg" id="img48167" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7886956.jpg" id="img93626" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7887076.jpg" id="img61287" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7887773.jpg" id="img30829" border="0" /><br /></div><br /><br /><span style="font-size:130%;"><a style="font-weight: bold;" href="http://www.megaupload.com/?d=M8SB3OEA">Heinz Emigholz - Arrowplane (1973)</a></span><br /><br /><div style="text-align: center;"><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7864808.jpg" id="img68791" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7865006.jpg" id="img72822" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7865532.jpg" id="img51567" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7865887.jpg" id="img56508" border="0" /><br /><br /></div><br /><span style="font-weight: bold;font-size:130%;" ><a href="http://www.megaupload.com/?d=E6EDBLJ0">Heinz Emigholz - Stair Piece (1975)</a></span><span style="font-weight: bold;"><br /><br /></span><div style="text-align: center;"><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7895100.jpg" id="img48969" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7895467.jpg" id="img13963" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7895747.jpg" id="img61167" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7896468.jpg" id="img29877" border="0" /><br /><br /></div><br /><span style="font-size:130%;"><a style="font-weight: bold;" href="http://www.megaupload.com/?d=30VDOH9U">Heinz Emigholz - Schenec-Tady I (1972)</a></span><br /><br /><div style="text-align: center;"><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlc-6092362.jpg" id="img40333" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlc-6092615.jpg" id="img66987" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlc-6092680.jpg" id="img74845" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlc-6093208.jpg" id="img64504" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlc-6094055.jpg" id="img4512" border="0" /><br /><br /></div><span style="font-size:130%;"><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=DPCEBNCM">Heinz Emigholz - Schenec-Tady II (1973)</a></span><br /><br /><div style="text-align: center;"><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7840755.jpg" id="img46482" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7840848.jpg" id="img86873" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7841681.jpg" id="img84180" border="0" /><br /><br /><img style="font-weight: bold;" class="resizedimg" src="http://i609.photobucket.com/albums/tt171/E-Ayhan/ALB2/vlcsnap-7841902.jpg" id="img98068" border="0" /></div>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com0tag:blogger.com,1999:blog-5527824975843919230.post-60987159603888088702007-06-16T11:36:00.001+01:002010-11-27T23:06:36.800+01:00Toshio Matsumoto - Experimental Film Works, 1961-1987 (2005)<a style="font-weight: bold;" href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.1.1.-.The.Weavers.of.Nishijin.%281961%29.avi">The Weavers of Nishijin (1961)</a><br /><br /><a href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.1.2.-.The.Song.of.Stone.%281963%29.avi"><span style="font-weight: bold;">The Song of Stone (1963)</span></a><br /><br /><a href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.1.3.-.Mothers.%281967%29.avi"><span style="font-weight: bold;">Mothers (1967)</span></a><br /><br /><a style="font-weight: bold;" href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.2.1.-.For.the.damaged.right.eye.%281968%29.avi">For the Damaged Right Eye (1968)</a><br /><br /><a style="font-weight: bold;" href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.2.2.-.Ecstasis.%281969%29.avi">Ecstasis (1969)</a><br /><br /><a href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.2.3.-.Metastasis.%281971%29.avi"><span style="font-weight: bold;">Metastasis (1971)</span></a><br /><br /><a style="font-weight: bold;" href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.3.1.-.Expansion.%281972%29.avi">Expansion (1972)</a><br /><br /><a href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.2.4.-.Mona.Lisa.%281973%29.avi"><span style="font-weight: bold;"> Mona Lisa (1973)</span></a><br /><br /><a style="font-weight: bold;" href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.3.2.-.Andy.Warhol.-.Re-production.%281974%29.avi">Andy Warhol - Re-production (1974)</a><br /><br /><a style="font-weight: bold;" href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.2.6.-.Atman.%281975%29.avi">Atman (1975)</a><br /><br /><a style="font-weight: bold;" href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.2.5.-.Phantom.%281975%29.avi">Phantom (1975)</a><br /><a href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.3.3.-.Everything.visible.is.empty.%281975%29.avi"><br /></a><span><a href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.3.3.-.Everything.visible.is.empty.%281975%29.avi"><span style="font-weight: bold;">Everything Visible Is Empty (1975)</span></a><br /><br /></span><a href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.3.4.-.Enigma.%281978%29.avi"><span><span style="font-weight: bold;">Enigma (1978)</span></span></a><br /><br /><a href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.2.7.-.White.hole.%281979%29.avi"><span style="font-weight: bold;">White hole (1979)</span></a><br /><br /><a style="font-weight: bold;" href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.2.8.-.Ki.or.Breathing.%281980%29.avi"> Ki or Breathing (1980)</a><br /><br /><a href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.3.5.-.Connection.%281981%29.avi"><span style="font-weight: bold;">Connection (1981)</span></a><br /><br /><a style="font-weight: bold;" href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.3.7.-.Shift.%281982%29.avi">Relation (1982)</a><br /><br /><a style="font-weight: bold;" href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.3.8.-.Sway.%281985%29.avi">Sway (1985)</a><br /><br /><a href="http://ubu.artmob.ca/video/Toshio.Matsumoto.-.Experimental.film.works.-.3.9.-.Engram.%281987%29.avi"><span style="font-weight: bold;">Engram (1987)</span></a>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com9tag:blogger.com,1999:blog-5527824975843919230.post-66844586200368320442007-06-08T21:54:00.001+01:002010-11-27T23:11:00.358+01:00Why is it so hard to find a proper title... ?<span><span><span style="font-weight: bold;font-size:180%;" >Gordon Wilding - Rapture (1997)<br /></span></span></span><br />LINK DEAD (for now...)<br /><br /><img class="resizedimg" src="http://img120.imageshack.us/img120/4786/rap6sa5.jpg" onload="togglesize('img92230',400);" onclick="togglesize('img92230',400);" id="img92230" border="0" /><br /><br /><img class="resizedimg" src="http://img120.imageshack.us/img120/5736/rap8ph8.jpg" onload="togglesize('img4638',400);" onclick="togglesize('img4638',400);" id="img4638" border="0" /><br /><br /><img class="resizedimg" src="http://img120.imageshack.us/img120/4107/rap7bo3.jpg" onload="togglesize('img84577',400);" onclick="togglesize('img84577',400);" id="img84577" border="0" /><br /><br /><br />///////<br /><br /><span><span><span style="font-weight: bold;font-size:180%;" >Jean-Pierre Bouyxou - Satan bouche un coin (1968)</span><span style="font-weight: bold;font-size:180%;" ><br /></span></span></span><br />LINK DEAD (for now...)<br /><br /><img class="resizedimg" src="http://img201.imageshack.us/img201/2789/sat7em3.jpg" onload="togglesize('img95647',400);" onclick="togglesize('img95647',400);" id="img95647" border="0" /><br /><br /><b></b><img class="resizedimg" src="http://img177.imageshack.us/img177/9598/sat1cj3.jpg" onload="togglesize('img92260',400);" onclick="togglesize('img92260',400);" id="img92260" border="0" /><br /><br /><b></b><br /><img class="resizedimg" src="http://img201.imageshack.us/img201/9363/sat8ix9.jpg" onload="togglesize('img96772',400);" onclick="togglesize('img96772',400);" id="img96772" border="0" /><br /><br /><img class="resizedimg" src="http://img177.imageshack.us/img177/5976/sat2ba8.jpg" onload="togglesize('img24290',400);" onclick="togglesize('img24290',400);" id="img24290" border="0" /><br /><br />//////<br /><span style="font-weight: bold;"><br /></span><span style="font-weight: bold;font-size:180%;" >Don Hertfeldt - The Meaning of Life (2003)</span><br /><span><a target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" ><br /></span></a></span><span style="color: rgb(51, 51, 255);"><a href="http://files-upload.com/147642/DonHertzfeldt-TheMeaningofLife2005.avi.html" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" ></span></a></span><a target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">LINK DEAD (for now...)</a><br /><br /><img class="resizedimg" src="http://img231.imageshack.us/img231/8076/kbscap0016ys6.jpg" onload="togglesize('img23408',400);" onclick="togglesize('img23408',400);" id="img23408" border="0" /><br /><br />///////<br /><br /><span><span><a target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" ><span style="font-size:180%;"></span><br /></span></a></span></span><span style="font-weight: bold;font-size:180%;" >Steven Dwoskin - Dirty (1971)</span><br /><br /><a style="color: rgb(51, 51, 255);" href="http://files-upload.com/147487/StevenDwoskin-Dirty1971DVDripCiNEMAGROTE.avi.html" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" ></span></a>LINK DEAD (for now...)<br /><br /><img class="resizedimg" src="http://img171.imageshack.us/img171/373/vlcsnap180908gu3.jpg" onload="togglesize('img7781',400);" onclick="togglesize('img7781',400);" id="img7781" border="0" /><br /><br /><img class="resizedimg" src="http://img237.imageshack.us/img237/7104/vlcsnap181078ek3.jpg" onload="togglesize('img6032',400);" onclick="togglesize('img6032',400);" id="img6032" border="0" /><br /><br /><img class="resizedimg" src="http://img182.imageshack.us/img182/2848/vlcsnap181093tf0.jpg" onload="togglesize('img28234',400);" onclick="togglesize('img28234',400);" id="img28234" border="0" /><br /><br /><img class="resizedimg" src="http://img171.imageshack.us/img171/3899/vlcsnap181157ze7.jpg" onload="togglesize('img74138',400);" onclick="togglesize('img74138',400);" id="img74138" border="0" /><br /><br /><h1><br /></h1>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com3tag:blogger.com,1999:blog-5527824975843919230.post-8901491029053917312007-06-08T21:45:00.001+01:002010-11-27T23:12:04.484+01:00Jan Kounen, Beating Heart Baby<span style="font-weight: bold;">Le Dernier Chaperon rouge, de Jan Kounen</span> <span style="font-weight: bold;">1996, 26', 35MM, coul., son.</span><br /><br /><span class="pBlancTab"></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/6008/bscap0004vj5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/6008/bscap0004vj5.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/3402/bscap0001vj0.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/3402/bscap0001vj0.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/6605/bscap0005xm5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/6605/bscap0005xm5.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/9886/bscap0010kd4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/9886/bscap0010kd4.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/3755/bscap0013wr4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/3755/bscap0013wr4.jpg" alt="" border="0" /></a><br />/////<br /><br /><span style="font-weight: bold;">Capitaine X, de Jan Kounen</span> <span style="font-weight: bold;">1994, 12', 35MM, coul., son.<br /><br /></span>LINK DEAD (for now...)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img329.imageshack.us/img329/1982/vlcsnap1215244ao4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img329.imageshack.us/img329/1982/vlcsnap1215244ao4.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img329.imageshack.us/img329/1310/vlcsnap1215160vm9.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img329.imageshack.us/img329/1310/vlcsnap1215160vm9.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/176/vlcsnap1215342er6.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/176/vlcsnap1215342er6.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/4195/vlcsnap1216503ya8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/4195/vlcsnap1216503ya8.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://idata.over-blog.com/0/54/80/25/sangsues/captainx3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://idata.over-blog.com/0/54/80/25/sangsues/captainx3.jpg" alt="" border="0" /></a><br />/////<br /><br /><span style="font-weight: bold;">Vibroboy, de Jan Kounen</span> <span style="font-weight: bold;">1994, 27'03'', 35MM, coul., son.<br /></span><br />LINK DEAD (for now...)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img125.imageshack.us/img125/5897/vib14ft.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img125.imageshack.us/img125/5897/vib14ft.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="hhttp://img125.imageshack.us/img125/333/vib25xs.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img125.imageshack.us/img125/333/vib25xs.jpg" alt="" border="0" /></a>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com0tag:blogger.com,1999:blog-5527824975843919230.post-45984502173336419242007-06-08T21:35:00.001+01:002010-11-27T23:13:58.851+01:00Nobuhiko Obayashi - Experimental Film Collection (1960-1968) [PART 2]<span style="font-weight: bold;font-size:180%;" >Nobuhiko Obayashi - Confession (1968)</span><br /><br /><span class="postbody"><span style="font-weight: bold;"><span style="text-decoration: underline;"><a href="http://ubu.artmob.ca/video/Obayashi-Nobuhiko_1968_Confession.avi">CLICK HERE (900Mo FILE</a>)<br /><br /></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img108.imageshack.us/img108/3310/confessionyt0.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img108.imageshack.us/img108/3310/confessionyt0.jpg" alt="" border="0" /></a><a href="http://files-upload.com/199759/NobuhikoObayashi-1968-CONFESSION.part4.r.rar.html"><span class="postbody"><span style="font-weight: bold;"><span style="text-decoration: underline;"><br /></span></span></span></a>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com0tag:blogger.com,1999:blog-5527824975843919230.post-76845752009344631282007-06-08T21:20:00.001+01:002010-11-27T23:16:08.827+01:00Donald Richie as a film-maker<span class="postbody"><span style="font-weight: bold;"><span style="text-decoration: underline;"><a href="http://ubu.artmob.ca/video/Obayashi-Nobuhiko_1968_Confession.avi"></a></span></span></span><span style="font-weight: bold;">Wargames (1962)</span><br /><br />video: 576x432 00:22:08 23.97fps XviD 1.4Mbps<br />audio: 48KHz 00:22:08 Stereo 139Kbps mp3<br /><a style="font-weight: bold;" href="http://files-upload.com/191537/DonaldRichie-01-WarGames.avi.html"></a><span style="text-decoration: underline;"><br /></span>DEAD LINK (for now...)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img262.imageshack.us/img262/6167/donaldrichie01wargames3ai5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img262.imageshack.us/img262/6167/donaldrichie01wargames3ai5.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img262.imageshack.us/img262/1981/donaldrichie01wargames4wm9.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img262.imageshack.us/img262/1981/donaldrichie01wargames4wm9.jpg" alt="" border="0" /></a><br /><span style="font-weight: bold;">Atami Blues (1962-67)</span><br /><br />video: 576x432 00:20:24 23.97fps XviD 1.4Mbps<br />audio: 48KHz 00:20:24 Stereo 140Kbps mp3<br /><br /><a style="font-weight: bold;" href="http://files-upload.com/191645/DonaldRichie-02-AtamiBlues.avi.html"></a>DEAD LINK (for now...)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img262.imageshack.us/img262/6549/donaldrichie02atamiblueyj3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img262.imageshack.us/img262/6549/donaldrichie02atamiblueyj3.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img262.imageshack.us/img262/2628/donaldrichie02atamiblueve5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img262.imageshack.us/img262/2628/donaldrichie02atamiblueve5.jpg" alt="" border="0" /></a><br /><span style="font-weight: bold;">Boy with Cat (1967)</span><br /><br />video: 576x432 00:05:32 23.97fps XviD 1.4Mbps<br />audio: 48KHz 00:05:32 Stereo 139Kbps mp3<br /><br /><a style="font-weight: bold;" href="http://files-upload.com/193498/DonaldRichie-03-BoyWithCat.avi.html"></a>DEAD LINK (for now...)<br /><a href="http://files-upload.com/191645/DonaldRichie-02-AtamiBlues.avi.html" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img262.imageshack.us/img262/7590/donaldrichie03boywithcagx2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img262.imageshack.us/img262/7590/donaldrichie03boywithcagx2.jpg" alt="" border="0" /></a><br /><span style="font-weight: bold;">Five Filosophical Fables (1967)</span><br /><br />video: 576x432 00:46:33 23.97fps XviD 1.4Mbps<br />audio: 48KHz 00:46:33 Stereo 139Kbps mp3<br /><br /><span style="font-weight: bold;"></span>DEAD LINK (for now...)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img262.imageshack.us/img262/1535/donaldrichie05fivefilosgl6.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img262.imageshack.us/img262/1535/donaldrichie05fivefilosgl6.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img262.imageshack.us/img262/5915/donaldrichie05fivefilosha7.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img262.imageshack.us/img262/5915/donaldrichie05fivefilosha7.jpg" alt="" border="0" /></a><br /><span style="font-weight: bold;">Dead Youth (1967)</span><br /><br />video: 576x432 00:13:31 23.97fps XviD 1.4Mbps<br />audio: 48KHz 00:13:32 Stereo 139Kbps mp3<br /><a style="font-weight: bold;" href="http://files-upload.com/189969/DonaldRichie-04-DeadYouth.avi.html"></a><br />DEAD LINK (for now...)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img262.imageshack.us/img262/2623/donaldrichie04deadyouthep8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img262.imageshack.us/img262/2623/donaldrichie04deadyouthep8.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img262.imageshack.us/img262/3543/donaldrichie04deadyouthtp5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img262.imageshack.us/img262/3543/donaldrichie04deadyouthtp5.jpg" alt="" border="0" /></a><br /><span style="font-weight: bold;"> Cybele (1968) </span><br /><br />video: 576x432 00:19:43 23.97fps XviD 1.4Mbps<br />audio: 48KHz 00:19:43 Stereo 139Kbps mp3<br /><br /><span style="font-weight: bold;"> </span><a style="font-weight: bold;" href="http://files-upload.com/191738/DonaldRichie-06-Cybele.avi.html"></a>DEAD LINK (for now...)<br /><a href="http://files-upload.com/191537/DonaldRichie-01-WarGames.avi.html" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img441.imageshack.us/img441/4282/donaldrichie06cybele2pnjr1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img441.imageshack.us/img441/4282/donaldrichie06cybele2pnjr1.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img262.imageshack.us/img262/8384/donaldrichie06cybele3pnje5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img262.imageshack.us/img262/8384/donaldrichie06cybele3pnje5.jpg" alt="" border="0" /></a><p></p>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com0tag:blogger.com,1999:blog-5527824975843919230.post-52521410661639514862007-06-05T13:56:00.001+01:002010-11-28T12:03:15.401+01:00OST & Other Curiosities<span style="font-weight: bold;">MUSIC OF EL TOPO</span><br />Composed by Alejandro Jodorowsky<br />SHADES OF JOY<br />Arranged and conducted by Martin Fierro<br /><br /><span style="font-weight: bold;"> Plaintive Morricone-on-acid score.<br /><br /></span><a href="http://files-upload.com/215879/Alejandro_Jodorowsky-El_Topo_OST-2007-DP.rar.html"><span style="font-weight: bold;"></span></a>DEAD LINK (for now...)<br /><br /><span style="font-style: italic;">I believe that the only end of all human activity – whether it be politics, art, science, etc. – is to find enlightenment, to reach enlightenment. I ask of a film what most North Americans as of psychedelic drugs. The difference being that when one creates a psychedelic film, he need not create a film that shows the visions of a person who has taken a pill; rather, he needs to manufacture the pill.</span> <span style="font-style: italic;"> I think there are multiple influences in </span>El Topo<span style="font-style: italic;"> – I have them all: the influence of all the books I’ve read and all the films I’ve seen, of all the winds that have blown against my skin, of all the stars that have exploded during my lifetime, of each manifestation of the now manifested, of each flea that’s shit on me. Especially a flea I met in 1955. It shit on me in such an incredible way, that it changed my life. I’m sure that flea’s in my film.</span><br />- Alexandro Jodorowsky -<br /><br /><span style="font-style: italic;">In </span>El Topo<span style="font-style: italic;"> I had a person who played the flute. I took a piece by Bach for instance and I took scissors and cut it and re-arranged the pieces in another order and then I made the guy play it on the flute. That was one musical idea. There was another idea that I called ‘21 Friends’. I gave a musical note to my friends, do re mi fa sol la si, and then I asked them to come to my house and I was noting the order they were coming and I made music from that. Et cetera, et cetera… I was inventing ways to make music.</span><br />- Alexandro Jodorowsky -<br /><br />Soundtrack CD from the Anchor Bay Jodorowsky boxset.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://xs115.xs.to/xs115/07184/El_Topo_poster.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://xs115.xs.to/xs115/07184/El_Topo_poster.jpg" alt="" border="0" /></a><br />01 Entierro Del Primer Juguete 02:29<br /> (Burial of the First Toy) ..<br />02 Bajo Tierra (Under the Earth) 01:40<br />03 La Catedral de los Puercos (The Pigs Monastery) 01:33<br />04 Los Mendigos Sangrados (The Holy Beggars) 02:31<br />05 La Muerte es un Nacimiento (Death is Birth) 02:18<br />06 Curios Mexicano (Mexican Curios) 02:37<br />07 El Agua Viva (Living Water) 01:18<br />08 Vals Fantasma 03:17<br />09 El Alma Nace en la Sangre 02:44<br /> (The Soul Born in the Blood) ..<br />10 Topo Triste 02:44<br />11 Los Dioses de Azucar (The Sugar Gods) 01:39<br />12 Les Flores Nacen en el Barro 01:52<br /> (Flowers Born in the Mud) ..<br />13 El Infierno de los Angeles Prostitutos 01:54<br /> (The Hell of the Prostituted Angels) ..<br />14 Marcha de los Ojos en el Triangulos 01:37<br /> (March of the Eyes in the Triangles) ..<br />15 La Miel del Dolor (The Pain of Honey) 01:08<br />16 300 Conejos (300 Rabbits) 00:56<br />17 Conocimiento a Traves de la Musica 00:35<br /> (Knowledge Through Music) ..<br />18 La Primera Flor Despues del Diluvio 03:30<br /> (The First Flower After the Flood) ..<br /><br /><br />you'll find his surrealismy slapstick comedy EL TOPO, <a href="http://merzboy-goes-conceptual.blogspot.com/2007/03/cult-movies.html">THERE IF YOU CLICK ON ME</a><br /><br /><br />////<br /><br /><span style="font-weight: bold;">MUSIC OF THE HOLY MOUNTAIN</span><br />credited to free jazz god Don Cherry and Archies keyboardist Ron Frangipane along with Jodorowsky.<br /><br /><span style="font-weight: bold;"> A tantalizing aural mixture of religious instrumentation and funky pop compositions.<br /></span><a href="http://files-upload.com/215958/Alejandro_Jodorowsky-The_Holy_Mountain_O.rar.html"><span style="font-weight: bold;"></span></a><br />DEAD LINK (for now...)<br /><br /><span style="font-style: italic;">Some noises I had to make myself. Nobody knows that but I made a lot of sounds. When the thieves attack the masters in </span>The Holy Mountain<span style="font-style: italic;"> I had a piano and I took a chamber pot and I started to hit the piano with the chamber pot. It was fantastic, the chamber pot made a fantastic sound! (laughter) No one has asked me about the sound until today, but I made a lot of sounds. And I worked with a fantastic jazz musician called Don Cherry. He was a hippy musician, he was always doing drugs, and he brought lots of musicians. One time I had 100 guys! I showed them </span>The Holy Mountain<span style="font-style: italic;"> and he made the music as he was watching the picture. Every time I discovered ways to make the music I needed.</span><br />- Alexandro Jodorowsky -<br /><br />Soundtrack CD from the Anchor Bay Jodorowsky boxset.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://xs115.xs.to/xs115/07184/Holy_Mountain.gif"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://xs115.xs.to/xs115/07184/Holy_Mountain.gif" alt="" border="0" /></a><br />01 Trance Mutation 03:32<br />02 Pissed and Passed Out 01:48<br />03 Violence of the Lambs 02:03<br />04 Drink It 01:38<br />05 Christs 4 Sale 00:44<br />06 Cast Out and Pissed 01:48<br />07 Eye of the Beholder 02:17<br />08 Communion 01:24<br />09 Rainbow Room 04:41<br />10 Alchemical Room 04:15<br />11 Tarot Will Teach You / Burn Your Money 08:45<br />12 Mattresses, Masks and Pearls 05:53<br />13 Isla (The Sapphic Sleep) 02:22<br />14 Psychedelic Weapons 01:12<br />15 Rich Man in a Fishbowl 04:09<br />16 Miniature Plastic Bomb Shop 03:14<br />17 Fuck Machine 03:13<br />18 Baby Snakes 01:21<br />19 A Walk in the Park 01:31<br />20 Mice and Massacre 03:27<br />21 City of Freedom 03:22<br />22 Starfish 02:22<br />23 The Climb / Reality (Zoom Back Camera) 04:15<br />24 Pantheon Bar (Bees Make Honey...) 03:43<br /><br />////<br /><br /><b class="sans">The Eye Popping Sounds of Herschell Gordon Lewis<br /><br /></b>DEAD LINK (for now...)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://cover6.cduniverse.com/MuzeAudioArt/Large/15/476715.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://cover6.cduniverse.com/MuzeAudioArt/Large/15/476715.jpg" alt="" border="0" /></a><br />From Blood Feast<br /><p> 1. Official Warning (Blood Feast disclaimer)<br /> 2. Tragic Kettledrums / Eye Gouged Out / Legs Cut Off!<br /> 3. Blood Feast (Main Title) / Homicide Bureau<br /> 4. Fuad Ramses Exotic Catering Service<br /> 5. Brains Knocked Out<br /> 6. How Dry I Am<br /> 7. Tongue Torn Out<br /> 8. 5000 Years Ago / Newscast<br /> 9. Critical Condition<br /> 10. Ancient Weird Religious Rites<br /> 11. Poolside Frolic<br /> 12. Trudy Is Sacrificed to Ishtar / Leftovers<br /> 13. Chase Scene / A Fitting Death For The Garbage He Was<br /> 14. Blood Feast radio spot</p> <p> From 2000 Maniacs<br /> 15. Theme from 2000 Maniacs<br /> 16. Recurring Virtuoso Guitar Bit<br /> 17. Lister's Garbage / I Told You That Blade Was Sharp!<br /> 18. Roll In My Sweet Baby's Arms<br /> 19. It's Almost Like Halloween<br /> 20. Tom's Bright Idea<br /> 21. Escape Attempt / Guests of Honor<br /> 22. Quicksand!<br /> 23. Dixie<br /> 24. Safe At Last<br /> 25. Teetering Rock<br /> 26. Old Joe Clark</p> <p> 27. Gueusome Twosome radio spot<br /> 28. White Lightning (from Moonshine Mountain)<br /> 29. Suburban Roulette (from Suburban Roulette)<br /> 30. The Pill (from The Girl, The Body & The Pill)<br /> 31. She Devils On Wheels radio spot<br /> 32. Get Off The Road (from She Devils On Wheels)<br /> 33. Bad Day (from Blast Off Girls)<br /> 34. Noise (from Blast Off Girls)<br /> 35. Destruction (from Just For The Hell Of It)<br /> 36. Blast Off Girls Rock'n'Roll Party (from Blast Off Girls)<br /> 37. Living Venus (from Living Venus)</p><br />////<br /><br /><b class="sans">Choubi Choubi! Folk and Pop Sounds from Iraq<br /><br /></b><a style="font-weight: bold;" href="http://files-upload.com/185264/choubichoubifolkandpopsoundsfromiraqSubl.rar.html"></a>DEAD LINK (for now...)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.sublimefrequencies.com/images/Iraq_CD_300_dpi.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://www.sublimefrequencies.com/images/Iraq_CD_300_dpi.jpg" alt="" border="0" /></a><br /><table border="0" cellpadding="2" cellspacing="0" width="100%"><tbody><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>1</b>.</span></td><td><span class="md">They Taught Me - Ja'afar Hassan</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>2</b>.</span></td><td><span class="md">Segue Bezikh - Unidentified</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>3</b>.</span></td><td><span class="md">Oh Mother, The Handsome Man Tortures Me - Unidentified</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>4</b>.</span></td><td><span class="md">Yumma, Al Hilou (Mother, Here's My Beauty) - Unidentified</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>5</b>.</span></td><td><span class="md">Ahl Al Aqi (Oh, People Of Reason) - Unidentified</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>6</b>.</span></td><td><span class="md">Hecha - Unidentified</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>7</b>.</span></td><td><span class="md">Choubi Choubi - Unidentified</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>8</b>.</span></td><td><span class="md">Ya Binaya Goumi (Oh Girl, Stand Up) - Bawin</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>9</b>.</span></td><td><span class="md">Front My Hope - Ja'afar Hassan</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>10</b>.</span></td><td><span class="md">Ala Honak (Take It Easy) - Sajada Al Ubaid</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>11</b>.</span></td><td><span class="md">Mawal / Choubi - Unidentified</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>12</b>.</span></td><td><span class="md">(Unknown) - Mohammed Al Madloul</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>13</b>.</span></td><td><span class="md">Ashhad Biannak Hilou (I Admit You Are Beautiful) - Sadun Jabir</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>14</b>.</span></td><td><span class="md">Walla (By God) - Salah Abd Alghafour</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>15</b>.</span></td><td><span class="md">Palestinian - Ja'afar Hassan</span></td></tr><tr><td><br /></td><td><br /></td><td align="right"><span class="md"><b>16</b>.</span></td><td><span class="md">(Unknown) - Souad Abdullah</span></td></tr></tbody></table><br />////<br /><br /><b class="sans">Radio Phnom Penh<br /><br /></b><a href="http://files-upload.com/185320/RadioPhnomPenhSublimeFrequencies.rar.html"><span style="font-weight: bold;"></span></a>DEAD LINK (for now...)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.sublimefrequencies.com/images/radiopp72.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://www.sublimefrequencies.com/images/radiopp72.jpg" alt="" border="0" /></a><table border="0" cellpadding="3" cellspacing="1"><tbody><tr class="listRowEven"><td> 1. Don't Want to Let You Go </td> </tr> <tr class="listRowOdd"> <td> 2. Multi-Pop Indigenous </td> </tr> <tr class="listRowEven"> <td> 3. Blondie in Khmer Camouflage </td> </tr> <tr class="listRowOdd"> <td> 4. Street Guns and Studio Drums </td> </tr> <tr class="listRowEven"> <td> 5. Synthesizers East of Siam </td> </tr> <tr class="listRowOdd"> <td> 6. Indefinite State of Emergency </td> </tr> <tr class="listRowEven"> <td> 7. Phnom Penh on the Seine </td> </tr> <tr class="listRowOdd"> <td> 8. Bubble Gum Independence </td> </tr> <tr class="listRowEven"> <td> 9. Rebel Guitars in Strange Dialect </td> </tr> <tr class="listRowOdd"> <td> 10. Shiny Radio in a Blind Man's Wallet </td> </tr> <tr class="listRowEven"> <td> 11. Re-Mixed Culture or: The Graffiti Walls of Angkor Wat </td> </tr> <tr class="listRowOdd"> <td> 12. Condoms and Condors </td> </tr> <tr class="listRowEven"> <td> 13. Sign-Off/The Venerable Anthem</td></tr></tbody></table><span style="font-weight: bold;"><br /></span>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com4tag:blogger.com,1999:blog-5527824975843919230.post-46588900891752129452007-06-05T13:48:00.001+01:002010-11-28T12:05:25.426+01:00Pure Cinema<span style="font-weight: bold;">Ilppo Pohjola - Routemaster (2000)<br />2000 | 35 mm | 2,35 | 17'<br /><br /></span>Soundtrack includes work by Non (Boyd Rice) and Merzbow.<br /><span style="font-weight: bold;"><br /></span><a style="font-weight: bold; font-family: georgia;" href="http://files-upload.com/200144/IlppoPohjola-Routemaster2000.avi.html" target="_blank" class="postlink"></a>DEAD LINK (for now...)<br /><div class="x3"><br /><small><b>Routemaster<br />Ilppo Pohjola, Finland / Finlande, 2000, 17:00<br />Realisation / Réalisation: Ilppo Pohjola<br />Editing / Montage: Heikki Salo<br />Sound / Son: Jim McKee</b><br /></small><br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img178.imageshack.us/img178/3535/untitled3um8.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img178.imageshack.us/img178/3535/untitled3um8.png" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img141.imageshack.us/img141/1324/untitled1kq3.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img141.imageshack.us/img141/1324/untitled1kq3.png" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img178.imageshack.us/img178/3535/untitled3um8.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img178.imageshack.us/img178/3535/untitled3um8.png" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img141.imageshack.us/img141/2954/untitled5vn7.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img141.imageshack.us/img141/2954/untitled5vn7.png" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img141.imageshack.us/img141/2418/untitled2rg2.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img141.imageshack.us/img141/2418/untitled2rg2.png" alt="" border="0" /></a><br />////<br /><br /><span style="font-weight: bold;">Colin Barton - Intestinal Fortitude (1991)</span><br /><br /><a style="font-weight: bold;" href="http://files-upload.com/files/156989/ColinBarton-IntestinalFortitude1991.avi"></a><b>USA, 1991, 3 min<br /></b><span style="font-weight: bold;">16mm, color, sound,</span><br /><br />DEAD LINK (for now...)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img185.imageshack.us/img185/1795/intestine6vr0.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img185.imageshack.us/img185/1795/intestine6vr0.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img383.imageshack.us/img383/9388/intestineendrx7.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img383.imageshack.us/img383/9388/intestineendrx7.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img356.imageshack.us/img356/6939/intestine5fs3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img356.imageshack.us/img356/6939/intestine5fs3.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img359.imageshack.us/img359/5686/intestinetitleul6.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img359.imageshack.us/img359/5686/intestinetitleul6.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img185.imageshack.us/img185/3299/intestine2hz9.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img185.imageshack.us/img185/3299/intestine2hz9.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img185.imageshack.us/img185/1795/intestine6vr0.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img185.imageshack.us/img185/1795/intestine6vr0.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img359.imageshack.us/img359/7760/intestine1dw4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img359.imageshack.us/img359/7760/intestine1dw4.jpg" alt="" border="0" /></a><br /><br />/////<br /><br /><span style="font-weight: bold;">Kerry Laitala - Journey to the Unknown (2002)</span><br /><br /><a style="font-weight: bold;" href="http://files-upload.com/147552/KerryLaitala-Journeytotheunkown2002xvidA.avi.html"></a>DEAD LINK (for now...)<br /><span style="font-family:verdana,geneva,arial;"><span style="font-family:Verdana,Geneva,Arial,Helvetica,sans-serif;"><span style="font-family:verdana;"></span></span></span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img48.imageshack.us/img48/7835/bscap0004lj8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img48.imageshack.us/img48/7835/bscap0004lj8.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img48.imageshack.us/img48/6933/bscap0005ye4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img48.imageshack.us/img48/6933/bscap0005ye4.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img525.imageshack.us/img525/3845/bscap0000ov3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img525.imageshack.us/img525/3845/bscap0000ov3.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img48.imageshack.us/img48/4955/bscap0006uo2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img48.imageshack.us/img48/4955/bscap0006uo2.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img271.imageshack.us/img271/632/bscap0001xp4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img271.imageshack.us/img271/632/bscap0001xp4.jpg" alt="" border="0" /></a>////<br /><br /><span style="font-weight: bold;">Rafael Gray - RythmXXX (1999)</span><br /><br /><a style="font-weight: bold;" href="http://files-upload.com/143734/RafaelGray-RythmiXXX1999.avi.html"></a>DEAD LINK (for now...)<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img259.imageshack.us/img259/76/x9vb0.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img259.imageshack.us/img259/76/x9vb0.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img259.imageshack.us/img259/6338/x6fw8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img259.imageshack.us/img259/6338/x6fw8.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img240.imageshack.us/img240/6703/x3bx9.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img240.imageshack.us/img240/6703/x3bx9.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img259.imageshack.us/img259/244/x5pc5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img259.imageshack.us/img259/244/x5pc5.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img259.imageshack.us/img259/3612/x8de0.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img259.imageshack.us/img259/3612/x8de0.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img240.imageshack.us/img240/4886/x1ek2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img240.imageshack.us/img240/4886/x1ek2.jpg" alt="" border="0" /></a><br />////<br /><br /><span style="font-weight: bold;">David Rimmer - Variations on a Cellophane Wrapper (1970)</span><br /><br /><a style="font-weight: bold;" href="http://files-upload.com/199621/DavidRimmer-VariationsonaCellophaneWrapp.avi.html"></a>DEAD LINK (for now...)<br /><br />"The most exciting non-narrative film I've ever seen. The basic image is a female factory worker unrolling a large sheet of cellophane ... The film resembles a painting floating through time, its subject disappearing and re-emerging in various degrees of abstraction." (Kristina Nordstrom, VillageVoice)<br /><br />"... Rimmer's method and form of exposition is rich and complex ... The film is based on an endless (`closed') loop of a single black and white stock footage shot ... repeated, reversed from positive to negative to positive, and transformed via optical printing techniques ... The ambiguity of the content-message permits the viewer to experience and interpret the film in a variety of ways. Some viewers see the film as a `spiritual' message and some see it for its `political' or `feminist' content." (Al Razutis)<br /><b><br /><br /></b><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img72.imageshack.us/img72/4736/variationsonacellophanesw7.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img72.imageshack.us/img72/4736/variationsonacellophanesw7.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img101.imageshack.us/img101/2153/variationsonacellophanelu3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img101.imageshack.us/img101/2153/variationsonacellophanelu3.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img186.imageshack.us/img186/1079/variationsonacellophaneyh4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img186.imageshack.us/img186/1079/variationsonacellophaneyh4.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img296.imageshack.us/img296/3140/variationsonacellophaneot1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img296.imageshack.us/img296/3140/variationsonacellophaneot1.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img293.imageshack.us/img293/1/variationsonacellophaneck7.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img293.imageshack.us/img293/1/variationsonacellophaneck7.jpg" alt="" border="0" /></a><br />////<br /><br /><span style="font-weight: bold;">Nana Tchitchoua - Impressions from Rustaveli (2001)</span><br /><span style="font-weight: bold;">16mm 15'</span><br /><br />DEAD LINK (for now...)<br /><b></b><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img6.picsplace.to/img6/25/rustaveli_1.avi_000218200.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img6.picsplace.to/img6/25/rustaveli_1.avi_000218200.jpg" alt="" border="0" /></a>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com1tag:blogger.com,1999:blog-5527824975843919230.post-30130174218347237092007-04-30T12:59:00.000+01:002007-04-30T13:20:50.283+01:00updateall of Jean Painlevé's short have been upadted<br />except Les Oursins, i couldnt find it on my hd...<br /><br /><span style="color: rgb(255, 0, 0); font-weight: bold;">I am also adding some english subs for all of his shorts</span><br /><span style="color: rgb(255, 0, 0); font-weight: bold;">and a documentary by Roxane Hamery.</span><br /><br /><br /><a href="http://files-upload.com/pl/191568/JeanPainlev-EnglishSubsCompilationNo1192.rar.html"><span style="font-weight: bold;">English Subs for the First Part</span></a><br /><br /><a href="http://files-upload.com/pl/191567/JeanPainlev-EnglishSubsCompilationNo2192.rar.html"><span style="font-weight: bold;">English Subs for the Second Part</span></a><br /><br /><a href="http://www.megaupload.com/?d=DOIY0YB3"><span style="font-weight: bold;">----> click here for the documentary <-----</span></a><br /><br />/////<br /><br />tous les liens pour Jean Painlévé ont été mis à jour<br />sauf les Oursins, que je ne retrouve plus sur mon hd...<br />vous les retrouverez tous ici :<br /><h3 class="post-title"> <a href="http://merzboy-goes-conceptual.blogspot.com/2007/02/jean-painlev-cinaste-scientifique-avant.html">Jean Painlevé, Cinéaste Scientifique Avant-gardiste</a> </h3> <br />jajoute aussi le lien pour le documentaire <span style="font-weight: bold;">De L’Inconnue des six jours au Vampire</span>, de Roxane Hamery, jeune universitaire, auteur d’une thèse sur le cinéaste, qui se penche sur son parcours de ses débuts jusqu’en 1939.<br /><br /><a href="http://www.megaupload.com/?d=DOIY0YB3"><span style="font-weight: bold;">----> c'est ici que ça se passe <-----</span></a>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com2tag:blogger.com,1999:blog-5527824975843919230.post-60867272547033196432007-04-30T12:28:00.001+01:002010-11-28T12:09:35.092+01:003 Auteurs, Plusieurs films (ou la difficulté de trouver un titre qui accroche)<b>Castro Street, de </b><span style="font-weight: bold;">Bruce Baillie</span><br /><b>1966, 10', 16mm<br /><br /></b><a href="http://files-upload.com/169458/BruceBaillie-CastroStreet1966.avi.html"><span style="font-weight: bold;"></span></a>DEAD LINK (for now...)<br /><br /><span style="font-style: italic;">Tous les éléments sonores et visuels proviennent de cette rue, progressant du début à la fin de la rue en noir et blanc, un plan étant en couleur. L'emergence d'un long plan sur un aiguilleur ( un solo noir et blanc) est pour le cinéaste l'image essentielle de la conscience. </span><br /><span id="st" name="st" class="st">Bruce</span> <span id="st" name="st" class="st">Baillie</span>, New York Film-makers' Coop Catalogue n°6, 1975.<br />(Traduction: Dominique Willoughby)<br /><br /><br /><img class="resizedimg" src="http://img292.imageshack.us/img292/9007/bscap0000iw3.jpg" onload="togglesize('img12060',400);" onclick="togglesize('img12060',400);" id="img12060" border="0" /><br /><img class="resizedimg" src="http://img292.imageshack.us/img292/6615/bscap0001kq3.jpg" onload="togglesize('img12252',400);" onclick="togglesize('img12252',400);" id="img12252" border="0" /><br /><img class="resizedimg" src="http://img154.imageshack.us/img154/8663/bscap0002if9.jpg" onload="togglesize('img76780',400);" onclick="togglesize('img76780',400);" id="img76780" border="0" /><br /><br /><br /><b>2. Mr. Hayashi</b><b>, de </b><span style="font-weight: bold;">Bruce Baillie</span><br /><b>1961, 3', 16mm, n&b<br /><br /></b><a href="http://files-upload.com/169489/BruceBaillie-Mr.Hayashi1961.avi.html"><span style="font-weight: bold;"></span></a>DEAD LINK (for now...)<br /><b><br /></b>"<span style="font-style: italic;" id="st" name="st" class="st">Bruce</span><span style="font-style: italic;"> </span><span style="font-style: italic;" id="st" name="st" class="st">Baillie</span><span style="font-style: italic;"> opère en fabriquant à partir de visages et de paysages, des portraits si minutieux, si tendus qu'ils se rompent : le visage de Mr Hayashi devient ainsi insensiblement un paysage d'un désert mexicain.</span>"<br />C. Eizykman, programme Cabinet d'amateurs n°12.<br /><br /><a href="http://files-upload.com/169489/BruceBaillie-Mr.Hayashi1961.avi.html"><span style="font-weight: bold;"></span></a><a href="http://files-upload.com/169489/BruceBaillie-Mr.Hayashi1961.avi.html" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"></a><br /><img class="resizedimg" src="http://img221.imageshack.us/img221/5175/bscap0001ul6.jpg" onload="togglesize('img36728',400);" onclick="togglesize('img36728',400);" id="img36728" border="0" /><br /><br /><br /><b>3. All My Life</b><b>, de </b><span style="font-weight: bold;">Bruce Baillie</span><br /><b>1966, 3', 16mm, coul.<br /><br /></b><a href="http://files-upload.com/169473/BruceBaillie-AllMyLife1966.avi.html"><span style="font-weight: bold;"></span></a>DEAD LINK (for now...)<br /><br />"<span style="font-style: italic;">Une seule prise au début de l'été à Mendocino. La chanson All my life est interprétée par Ella Fitzgerald avec Teddy Wilson et son orchestre... Un vieux chemin avec des roses rouges. </span>"<br /><span id="st" name="st" class="st">Bruce</span> <span id="st" name="st" class="st">Baillie</span>, Film-makers' Coop Catalogue n°6, NY, 1975.<br /><br />"<span style="font-style: italic;">La palissade criblée de roses de All my life devient peu à peu le portrait d'un visage imaginé ou remémoré.</span>"<br />Claudine Eizykman, Un Cabinet d'amateurs n°12.<br /><br />"<span style="font-style: italic;">All my life est juste une image toute simple -une haie couverte de roses sauvages rouges- et un chant . Un haiku. Mon préféré parmi tous les films de </span><span style="font-style: italic;" id="st" name="st" class="st">Baillie</span><span style="font-style: italic;">. </span><span style="font-style: italic;" id="st" name="st" class="st">Bruce</span><span style="font-style: italic;"> dit que c'est son préféré aussi.</span>"<br />Jonas Mekas, The Village Voice, 6 Avril 1970.<br /><br /><br /><img class="resizedimg" src="http://img244.imageshack.us/img244/1397/bscap0000tm6.jpg" onload="togglesize('img67100',400);" onclick="togglesize('img67100',400);" id="img67100" border="0" /><br /><img class="resizedimg" src="http://img244.imageshack.us/img244/3515/bscap0005va4.jpg" onload="togglesize('img31270',400);" onclick="togglesize('img31270',400);" id="img31270" border="0" /><br /><br /> "<span id="st" name="st" class="st">Bruce</span> <span id="st" name="st" class="st">Baillie</span>, né en 1931 à Aberdeen (Sud Dakota), vit à Berkeley ( Californie).<br />Jusqu'à l'âge de 29 ans, il voyage, dessine et peint, réalise des maquettes d'avion et vit à la YMCA.<br />En 1955, il obtient sa licence d'Arts de l'université du Minesota et entre en 1959 à la London School of Film Technique. En 1961 il fonde Canyon Cinema, un lieu de projection de films à San Francisco plus de dix ans après l'arrêt de "Art in Cinema" dirigé par Franck Stauffascher. Puis à Berkeley il crée Canyon News, une structure de production pour laquelle il réalise ses premiers films, et Canyon Cinema , coopérative de diffusion de films expérimentaux qu'il dirige pendant un temps très limité."<script><!-- D(["mb","\u003cbr\>Claudine Eizykman, Un Cabinet d'amateurs n°12.\u003cbr style\u003d\"color:rgb(0, 0, 0)\"\>\n",0] ); D(["ce"]); //--></script><br />Claudine Eizykman, Un Cabinet d'amateurs n°12.<br /><br /><a href="http://www.geocities.com/hollywood/theater/1809/"><span style="font-weight: bold;">Liste d'Articles et Publications sur/de </span><span style="font-weight: bold;" id="st" name="st" class="st">Bruce</span><span style="font-weight: bold;"> </span><span style="font-weight: bold;" id="st" name="st" class="st">Baillie</span></a><br /><br /><br />/////<br /><span style="font-weight: bold;"><br /><br />Wild Night in El Reno, de George Kuchar<br /></span><span style="font-weight: bold;">1977, 6', 16mm, coul.</span><br /><br /><a href="http://files-upload.com/174185/GeorgeKuchar-Wild.Night.In.El.Reno1977.a.avi.html"><span style="font-weight: bold;"></span></a>DEAD LINK (for now...)<br /><br /><br />/////<br /><br /><br /><span style="font-weight: bold;">The Color of Love, de Peggy Ahwesh</span><span style="font-weight: bold;"><br />1994, 10', 16 mm, coul., son.</span><br /><br />DEAD LINK (for now...)<br /><br />For: Doris Wishman.<br />Synchronization: Keith Sanborn.<br />Music: Astor Piazzolla.<br />Thanks: Gabriel Miller, Tim Allen.<br /><br /><br /><img style="width: 398px; height: 265px;" src="http://img84.imageshack.us/img84/425/pdvd0004uk.png" onload="togglesize('img68401',400);" onclick="togglesize('img68401',400);" id="img68401" border="0" /><br /><img style="width: 396px; height: 264px;" src="http://img84.imageshack.us/img84/4143/pdvd0033rp.png" onload="togglesize('img66370',400);" onclick="togglesize('img66370',400);" id="img66370" border="0" /><br /><img style="width: 392px; height: 263px;" src="http://img84.imageshack.us/img84/8189/pdvd0056in.png" onload="togglesize('img63307',400);" onclick="togglesize('img63307',400);" id="img63307" border="0" /><br /><img style="width: 393px; height: 262px;" src="http://img84.imageshack.us/img84/4694/pdvd0067ec.png" onload="togglesize('img39616',400);" onclick="togglesize('img39616',400);" id="img39616" border="0" /><br /><img style="width: 392px; height: 262px;" src="http://img84.imageshack.us/img84/5080/pdvd0103ke.png" onload="togglesize('img90565',400);" onclick="togglesize('img90565',400);" id="img90565" border="0" /><br /><br /><a href="http://files-upload.com/174160/PeggyAhwesh-TheColorofLove1994.avi.html"><span style="font-weight: bold;"></span></a>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com4tag:blogger.com,1999:blog-5527824975843919230.post-8165013986224970862007-04-21T15:29:00.001+01:002010-11-28T12:12:07.065+01:00Ozon/Quay<span style="font-style: italic;font-size:85%;" >note: les problèmes de liens ont été résolus</span><br /><br /><br /><span style="font-weight: bold;">Stephen & Timothy Quay - The Films of the Brothers Quay (1987)<br /><br /></span><div style="text-align: center;"><img src="http://images2.dvdempire.com/gen/movies/16051h.jpg" border="0" /><br /></div><p>Stephen et Timothy Quay sont réalisateurs de cinéma. Ils sont nés en 1947 à Norristown en Pennsylvanie. Ils sont jumeaux et travaillent toujours ensemble, aussi on les désigne souvent comme les frères Quay.</p> <p>Ils sont spécialisés dans le court métrage d'animation. Leur studio se trouve à Londres où ils résident également. Ils travaillent pour la publicité (Nikon, Coca-Cola,…), la musique (le clip Sledge Hammer de Peter Gabriel), ou la télévision (MTV).</p> <p><a href="http://fr.wikipedia.org/wiki/Stephen_Quay" title="Stephen Quay"></a>Stephen et Timothy Quay sont de grands admirateurs de Jan Švankmajer à qui ils ont dédié un de leurs courts métrages : <i>The Cabinet of Jan Švankmajer</i> (1984).</p> <b></b>Pour en lire plus sur les Frères Quay, <a href="http://www.filmdeculte.com/coupdeprojo/freresquay.php">on passe par ici</a><br /><br /><br /><div style="text-align: center;"> <img class="resizedimg" src="http://img206.imageshack.us/img206/5462/snapshot20061207003801rs3.jpg" onload="togglesize('img58836',400);" onclick="togglesize('img58836',400);" id="img58836" border="0" /><br /><br /><img class="resizedimg" src="http://img206.imageshack.us/img206/7117/snapshot20061207003948vt6.jpg" onload="togglesize('img60719',400);" onclick="togglesize('img60719',400);" id="img60719" border="0" /><br /><br /><img class="resizedimg" src="http://img206.imageshack.us/img206/6322/snapshot20061207004119vi6.jpg" onload="togglesize('img35493',400);" onclick="togglesize('img35493',400);" id="img35493" border="0" /><br /><br /><img class="resizedimg" src="http://img206.imageshack.us/img206/1314/snapshot20061207004137xw7.jpg" onload="togglesize('img92720',400);" onclick="togglesize('img92720',400);" id="img92720" border="0" /><br /><br /><img class="resizedimg" src="http://img206.imageshack.us/img206/7873/snapshot20061207004235td7.jpg" onload="togglesize('img7067',400);" onclick="togglesize('img7067',400);" id="img7067" border="0" /><br /><br /><img class="resizedimg" src="http://img206.imageshack.us/img206/8131/snapshot20061207004345tv0.jpg" onload="togglesize('img91678',400);" onclick="togglesize('img91678',400);" id="img91678" border="0" /><br /><br /><img class="resizedimg" src="http://img206.imageshack.us/img206/4623/snapshot20061207004402zk9.jpg" onload="togglesize('img83812',400);" onclick="togglesize('img83812',400);" id="img83812" border="0" /><br /><br /><img class="resizedimg" src="http://img206.imageshack.us/img206/3254/snapshot20061207004532ah6.jpg" onload="togglesize('img15189',400);" onclick="togglesize('img15189',400);" id="img15189" border="0" /><br /><br /><img class="resizedimg" src="http://img206.imageshack.us/img206/7240/snapshot20061207004641lo2.jpg" onload="togglesize('img84493',400);" onclick="togglesize('img84493',400);" id="img84493" border="0" /><br /><br /><img class="resizedimg" src="http://img206.imageshack.us/img206/4417/snapshot20061207004806bj9.jpg" onload="togglesize('img99350',400);" onclick="togglesize('img99350',400);" id="img99350" border="0" /><br /></div><br /><br /><b>Cest ici que ça se passe:</b><br /><a href="http://rapidshare.com/files/25904750/BQC_BY_SCOTOBUKI.part1.rar">Part 01</a><br /><a href="http://rapidshare.com/files/25904750/BQC_BY_SCOTOBUKI.part1.rar"></a><a href="http://rapidshare.com/files/25924352/BQC_BY_SCOTOBUKI.part2.rar">Part 02</a><br /><a href="http://rapidshare.com/files/25904750/BQC_BY_SCOTOBUKI.part1.rar"></a><a href="http://rapidshare.com/files/25944259/BQC_BY_SCOTOBUKI.part3.rar">Part 03</a><br /><a href="http://rapidshare.com/files/25904750/BQC_BY_SCOTOBUKI.part1.rar"></a><a href="http://rapidshare.com/files/25965170/BQC_BY_SCOTOBUKI.part4.rar">Part 04</a><br /><a href="http://rapidshare.com/files/25904750/BQC_BY_SCOTOBUKI.part1.rar"></a><a href="http://rapidshare.com/files/25977960/BQC_BY_SCOTOBUKI.part5.rar">Part 05</a><br /><a href="http://rapidshare.com/files/25904750/BQC_BY_SCOTOBUKI.part1.rar"></a><a href="http://rapidshare.com/files/25989244/BQC_BY_SCOTOBUKI.part6.rar">Part 06</a><br /><a href="http://rapidshare.com/files/25904750/BQC_BY_SCOTOBUKI.part1.rar"></a><a href="http://rapidshare.com/files/26001339/BQC_BY_SCOTOBUKI.part7.rar">Part 07</a><br /><br /><b style="color: rgb(255, 0, 0);">Password:</b><span style="color: rgb(255, 0, 0);"> oldscot<br /><br /><br /><span style="color: rgb(0, 0, 0);">/////</span><br /></span><span style="color: rgb(255, 0, 0); font-weight: bold;"></span><br /><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0); font-weight: bold;"> <span style="font-size:180%;">François Ozon</span></span></span><br /><br /><a href="http://rapidshare.de/files/29869937/X_2_0_0_0.part1.rar">Part 01</a><br /><a href="http://rapidshare.de/files/29879400/X_2_0_0_0.part2.rar">Part 0</a><a href="http://rapidshare.de/files/29879400/X_2_0_0_0.part2.rar">2</a><br /><br /><b style="color: rgb(255, 0, 0);">Password:</b><span style="color: rgb(255, 0, 0);"> oldscot<br /><br /></span><span style="color: rgb(255, 0, 0); font-weight: bold;">English subs hardcoded<br /><br /></span><b>X 2000<br />1998, 5', 35mm, coul., son.<br /></b> <em></em><br />The first morning in the new millennium. Three naked couples sleep, make love and awake in an empty skyscraper littered with party debris. The world is silent and pregnant with new possibilities.<br /><br /><div style="text-align: center;"><img style="width: 426px; height: 227px;" class="resizedimg" src="http://img.photobucket.com/albums/v226/discoboy/7e59d4fd.jpg" onload="togglesize('img7922',400);" onclick="togglesize('img7922',400);" id="img7922" border="0" /><br /><br /><img style="width: 426px; height: 227px;" class="resizedimg" src="http://img.photobucket.com/albums/v226/discoboy/33613f47.jpg" onload="togglesize('img49567',400);" onclick="togglesize('img49567',400);" id="img49567" border="0" /><br /><br /><img style="width: 426px; height: 227px;" class="resizedimg" src="http://img.photobucket.com/albums/v226/discoboy/182f9b51.jpg" onload="togglesize('img60396',400);" onclick="togglesize('img60396',400);" id="img60396" border="0" /><br /></div><br /><br /><b>Action Vérité<br />1994, 4', 35mm, coul., son.<br /></b> <em></em><br />Four teens discover the pain and excitement of emerging sexuality while playing a harmless children's game.<br /><div style="text-align: center;"><br /><img style="width: 491px; height: 360px;" class="resizedimg" src="http://img227.echo.cx/img227/7720/bscap000.jpg" onload="togglesize('img61670',400);" onclick="togglesize('img61670',400);" id="img61670" border="0" /><br /><br /><img style="width: 493px; height: 363px;" class="resizedimg" src="http://img227.echo.cx/img227/3535/bscap001.jpg" onload="togglesize('img85544',400);" onclick="togglesize('img85544',400);" id="img85544" border="0" /><br /><br /><img style="width: 494px; height: 362px;" class="resizedimg" src="http://img227.echo.cx/img227/8229/bscap002.jpg" onload="togglesize('img4761',400);" onclick="togglesize('img4761',400);" id="img4761" border="0" /><br /></div><br /><br /><span style="font-weight: bold;">La Petite Mort<br />1995, 27', 35mm, coul., son.<br /><br /></span> <span style="font-style: italic;"><span style="font-weight: bold;"></span></span>A devastating look at family relations. Paul, a young photographer who specializes in capturing men in ecstasy, hasn t' spoken to his father in years. When his sister persuades him to visit his dying father in the hospital, Paul discovers that he can never escape his origins.<br /><br /><br /><div style="text-align: center;"><img style="width: 474px; height: 273px;" class="resizedimg" src="http://img.photobucket.com/albums/v226/discoboy/b16ab22e.jpg" onload="togglesize('img64293',400);" onclick="togglesize('img64293',400);" id="img64293" border="0" /><br /><br /><img style="width: 474px; height: 275px;" class="resizedimg" src="http://img.photobucket.com/albums/v226/discoboy/464e744d.jpg" onload="togglesize('img55224',400);" onclick="togglesize('img55224',400);" id="img55224" border="0" /><br /><br /><img style="width: 472px; height: 274px;" class="resizedimg" src="http://img.photobucket.com/albums/v226/discoboy/771282b1.jpg" onload="togglesize('img94242',400);" onclick="togglesize('img94242',400);" id="img94242" border="0" /><br /></div><br /><br /><b>Scènes de Lit<br />1997, 27', coul., son.<br /></b> <em></em><br />Seven bed scenes revolving around various couples. A series of liberated comic sketches on sexual etiquette, unbridled passion and post-coital aftertastes.<br /><br /><div style="text-align: center;"><img style="width: 464px; height: 268px;" class="resizedimg" src="http://img.photobucket.com/albums/v226/discoboy/0f9f6193.jpg" onload="togglesize('img42804',400);" onclick="togglesize('img42804',400);" id="img42804" border="0" /><br /><br /><img style="width: 464px; height: 268px;" class="resizedimg" src="http://img.photobucket.com/albums/v226/discoboy/fa4c583a.jpg" onload="togglesize('img72017',400);" onclick="togglesize('img72017',400);" id="img72017" border="0" /><br /><br /><img style="width: 467px; height: 270px;" src="http://img.photobucket.com/albums/v226/discoboy/8275129b.jpg" onload="togglesize('img84160',400);" onclick="togglesize('img84160',400);" id="img84160" border="0" /><br /></div><span style="color: rgb(255, 0, 0);"><br /></span>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com3tag:blogger.com,1999:blog-5527824975843919230.post-81885404420633135092007-04-09T13:42:00.001+01:002010-11-28T12:15:47.115+01:00Jean Painlevé, Cinéaste Scientifique Avant-gardiste PART 2<div style="text-align: center;"><span style="font-weight: bold;font-family:georgia;font-size:100%;" ><span style="font-size:180%;">Jean Painlevé - Compilation No 2 (1926-1939)</span></span><br /></div><span style="font-weight: bold;font-family:georgia;font-size:100%;" ><br /></span><span style=";font-family:georgia;font-size:100%;" ></span><a href="http://rapidshare.de/files/29869937/X_2_0_0_0.part1.rar"></a><span style=";font-family:georgia;font-size:100%;" ><br /></span><span style="font-weight: bold;font-family:georgia;font-size:100%;" >Mathusalem<br />1927, 7', N&B, son.<br /></span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><span style="font-weight: bold;"><br /></span>DEAD LINK (forw now....)<br /></span><span style="color: rgb(0, 0, 0);font-family:georgia;font-size:100%;" ></span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><br /></span><span style=";font-family:georgia;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFAokWpQjyc_e7nAQwWu5nFzpYoBKnMkmV9Zaebuc9iEWeAzv15fWkVEObJzeOObxA0owyglOvujUnUK6Kw315mUTAshqqJGi7iwXfC42Pgn846ROALMPGOA3vAQ56rzpHmwCJVnN7jw4/s1600-h/bscap0001b.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFAokWpQjyc_e7nAQwWu5nFzpYoBKnMkmV9Zaebuc9iEWeAzv15fWkVEObJzeOObxA0owyglOvujUnUK6Kw315mUTAshqqJGi7iwXfC42Pgn846ROALMPGOA3vAQ56rzpHmwCJVnN7jw4/s400/bscap0001b.jpg" alt="" id="BLOGGER_PHOTO_ID_5051425665917575362" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCubNT7xLq7jK9hszxW4HeZJko11OWap9abFiAl1VemJlNPKtL4OqCX6mkxQ4VzB1kd6bRLpmKESYDjAG1bpzXcVfxGKzy_k6twZOdeabODcJCvqjOEDAL8q4urvZ7WPLAXxRJTKZilkw/s1600-h/bscap0002b.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCubNT7xLq7jK9hszxW4HeZJko11OWap9abFiAl1VemJlNPKtL4OqCX6mkxQ4VzB1kd6bRLpmKESYDjAG1bpzXcVfxGKzy_k6twZOdeabODcJCvqjOEDAL8q4urvZ7WPLAXxRJTKZilkw/s400/bscap0002b.jpg" alt="" id="BLOGGER_PHOTO_ID_5051425670212542674" border="0" /></a><br /></span><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">La Daphnie<br />1927, 13', n&b, muet</span><br /><br /></span><span style="font-weight: bold;font-family:georgia;font-size:100%;" class="postbody" ><a href="http://files-upload.com/133104/JeanPainlev-LaDaphnie.avi.html" target="_blank" class="postlink"></a></span><span style=";font-family:georgia;font-size:100%;" class="postbody" >DEAD LINK (forw now....)</span><span style=";font-family:georgia;font-size:100%;" ><br /></span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><br /></span><span style=";font-family:georgia;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ79aItNmMB20ZFPxANi1C7rjUj5h6v1bIRuYq5Qos-C7hFlyJbcjGW8Uq2MYcRwTZ_II5OMob0btstVMjqgqcvOYviC1fyiBN05KWtI2CqfZaNeA8Lnt_eafyoOpAGYmy6iEauwMke7k/s1600-h/bscap0004a.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ79aItNmMB20ZFPxANi1C7rjUj5h6v1bIRuYq5Qos-C7hFlyJbcjGW8Uq2MYcRwTZ_II5OMob0btstVMjqgqcvOYviC1fyiBN05KWtI2CqfZaNeA8Lnt_eafyoOpAGYmy6iEauwMke7k/s400/bscap0004a.jpg" alt="" id="BLOGGER_PHOTO_ID_5051425670212542690" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhavqw-q8Cw0mKkmfiCHV4_D0wYcSzCI6hIlNTiE8jR5eDMS9EfjDdXbt3XNWrtoxuyKfK1GGtratYLLi2zmbg2lLpBTuURvprYq2VDm_PpV1bsQvMhyphenhyphen9lEwM5_JOe0QmIFFXfRPzYHwwc/s1600-h/bscap0005a.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhavqw-q8Cw0mKkmfiCHV4_D0wYcSzCI6hIlNTiE8jR5eDMS9EfjDdXbt3XNWrtoxuyKfK1GGtratYLLi2zmbg2lLpBTuURvprYq2VDm_PpV1bsQvMhyphenhyphen9lEwM5_JOe0QmIFFXfRPzYHwwc/s400/bscap0005a.jpg" alt="" id="BLOGGER_PHOTO_ID_5051425674507510002" border="0" /></a><br /></span><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">La Pieuvre</span> <span style="font-weight: bold;"> 1927, 10', n&b, muet</span><br /><br /></span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><a href="http://files-upload.com/157307/JeanPainlev-Lapieuvre.avi.html" style="font-weight: bold;" target="_blank" class="postlink"></a></span><span style=";font-family:georgia;font-size:100%;" class="postbody" >DEAD LINK (forw now....)</span><span style=";font-family:georgia;font-size:100%;" ><br /></span><span style=";font-family:georgia;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img6.picsplace.to/img6/25/flasque.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img6.picsplace.to/img6/25/flasque.jpg" alt="" border="0" /></a></span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><br /></span><span style="color: rgb(0, 0, 0);font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">Le Bernard l'Ermite</span> <span style="font-weight: bold;"> 1927, 13', n&b<br /></span></span><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">Musique : Scarlatti, orchestré par Maurice Jaubert.<br />Opérateur : Eli Lotar.<br /><br /></span> </span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><a style="font-weight: bold;" href="http://www.megaupload.com/?d=1Z3G5R9D" target="_blank" class="postlink"></a></span><span style=";font-family:georgia;font-size:100%;" class="postbody" >DEAD LINK (forw now....)<br /><br /></span><span style=";font-family:georgia;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdZ8atzE8QbgCBAjUan8bT1H7BayPyCziNlOdd7GNQwHoUI_qAeqF4bZYoba4NIOVU-9uYAx12Ql4MJ4baxX7zBR9Ero7LeYkPfljAjINH0vCfze6GT0B5Sx6fHnU-urIEYzhBAV4PCXw/s1600-h/bscap0003c.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdZ8atzE8QbgCBAjUan8bT1H7BayPyCziNlOdd7GNQwHoUI_qAeqF4bZYoba4NIOVU-9uYAx12Ql4MJ4baxX7zBR9Ero7LeYkPfljAjINH0vCfze6GT0B5Sx6fHnU-urIEYzhBAV4PCXw/s400/bscap0003c.jpg" alt="" id="BLOGGER_PHOTO_ID_5051426280097898786" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlmJjpDPMyFjSHfwGJdY35pcVulp5wOJL_gXyAOdnYBCRZL6UWOypC7ORX-CR4UMM27RG9k-oIFCEyAigSws80bQ2P93_PPr2xIiysA6Ie1VB5CvIf_61CciUWiT7FEFDLj1DHL-RDk2k/s1600-h/bscap0005c.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlmJjpDPMyFjSHfwGJdY35pcVulp5wOJL_gXyAOdnYBCRZL6UWOypC7ORX-CR4UMM27RG9k-oIFCEyAigSws80bQ2P93_PPr2xIiysA6Ie1VB5CvIf_61CciUWiT7FEFDLj1DHL-RDk2k/s400/bscap0005c.jpg" alt="" id="BLOGGER_PHOTO_ID_5051426280097898802" border="0" /></a></span><span style="font-weight: bold;font-family:georgia;font-size:100%;" >Les Oursins<br />1954, 11', coul.<br />Musique : Bruits organisés en hommage à VARESE</span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><span style="font-weight: bold;"><br /><br /><a href="http://files-upload.com/132915/JeanPainlev-Lesoursins.avi.html" target="_blank" class="postlink"></a></span></span><span style=";font-family:georgia;font-size:100%;" class="postbody" >DEAD LINK (forw now....)</span><br /><span style=";font-family:georgia;font-size:100%;" ><br /></span><span style=";font-family:georgia;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs69FuTDvMQYF6WsA0jnBm2yiKvj_lZc-1spSWqE2KG3oRa0yiATjBsdVpYYlWObh-kY6V3h0mC-jHU1TAIeA1r8hgylifhQjL2xkJCK_bs5LN6cD-eI9RrLQXRFXQBT1BRHAraAD3o_w/s1600-h/bscap0001d.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs69FuTDvMQYF6WsA0jnBm2yiKvj_lZc-1spSWqE2KG3oRa0yiATjBsdVpYYlWObh-kY6V3h0mC-jHU1TAIeA1r8hgylifhQjL2xkJCK_bs5LN6cD-eI9RrLQXRFXQBT1BRHAraAD3o_w/s400/bscap0001d.jpg" alt="" id="BLOGGER_PHOTO_ID_5051426043874697474" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir3UBLr5B5pKsKVXPEjcAUfTltVdc9K_wzadh_DpDZ8NvVstNzFmQ-IeD1AWALFjF4tEAFjhWMbThROAFqaZCnI9QW1_tb1zW3jd_Xe291ly-DE68Z6wO0YUAbiR09wExKe2bxIbUpQ-c/s1600-h/bscap0003d.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir3UBLr5B5pKsKVXPEjcAUfTltVdc9K_wzadh_DpDZ8NvVstNzFmQ-IeD1AWALFjF4tEAFjhWMbThROAFqaZCnI9QW1_tb1zW3jd_Xe291ly-DE68Z6wO0YUAbiR09wExKe2bxIbUpQ-c/s400/bscap0003d.jpg" alt="" id="BLOGGER_PHOTO_ID_5051426043874697490" border="0" /></a></span><span style="color: rgb(0, 0, 0);font-family:georgia;font-size:100%;" ><i><br /></i></span><span style="font-weight: bold;font-family:georgia;font-size:100%;" >Caprelles et Pantopodes</span><span style="font-weight: bold; color: rgb(0, 0, 0);font-family:georgia;font-size:100%;" ><br />1929, 8', n&b<br /></span><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">Musique : Scarlatti, orchestré par Maurice Jaubert.<br />Opérateur : Eli Lotar. </span></span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><span style="font-weight: bold;"><br /><br /><a href="http://files-upload.com/131353/JeanPainlev-Caprellesetpantopodes.avi.html" target="_blank" class="postlink"></a></span></span><span style=";font-family:georgia;font-size:100%;" class="postbody" >DEAD LINK (forw now....)</span><br /><span style=";font-family:georgia;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img6.picsplace.to/img6/25/filiforme.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img6.picsplace.to/img6/25/filiforme.jpg" alt="" border="0" /></a></span><span style=";font-family:georgia;font-size:100%;" ><i><br /></i><span style="font-weight: bold;">Crabes et </span></span><span style="color: rgb(0, 0, 0); font-weight: bold;font-family:georgia;font-size:100%;" >Crevettes</span><span style="font-weight: bold;font-family:georgia;font-size:100%;" ><br /></span><span style="color: rgb(0, 0, 0);font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">1930, 14', n&b</span><span style="font-weight: bold;"><br /></span></span><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">Musique : Maurice Delannoy.<br />Opérateur : Eli Lotar</span></span><span style="color: rgb(0, 0, 0);font-family:georgia;font-size:100%;" ><br /><br /></span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><a href="http://files-upload.com/135213/JeanPainlev-Crabesetcrevettes.avi.html" style="font-weight: bold;" target="_blank" class="postlink"></a></span><span style=";font-family:georgia;font-size:100%;" class="postbody" >DEAD LINK (forw now....)<br /><br /></span><span style=";font-family:georgia;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlzMtmFBO_l3avJONP9xD_LlQ-isocCNpyRCSIYCUODwKckp3DPmJ_wI2n1Zd80S9Ky0OJn0wBd5WRev1eFxGQQToGk6rI9t_EB0XyMQBVNkCQSSb96wwfXpJ_k9Jbw70rctdtCyEMr-I/s1600-h/bscap0001.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlzMtmFBO_l3avJONP9xD_LlQ-isocCNpyRCSIYCUODwKckp3DPmJ_wI2n1Zd80S9Ky0OJn0wBd5WRev1eFxGQQToGk6rI9t_EB0XyMQBVNkCQSSb96wwfXpJ_k9Jbw70rctdtCyEMr-I/s400/bscap0001.jpg" alt="" id="BLOGGER_PHOTO_ID_5051426559270773058" border="0" /></a><br /></span><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">Traitement expérimental d'une hémorragie chez le chien / Le sérum du Dr. Normet</span> <span style="font-weight: bold;"> 1930, 4', n&b, muet</span><br /></span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><br /></span><span style=";font-family:georgia;font-size:100%;" ></span><span style=";font-family:georgia;font-size:100%;" class="postbody" >DEAD LINK (forw now....)</span><br /><span style=";font-family:georgia;font-size:100%;" ><br /></span><span style=";font-family:georgia;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkqywDG3-8DhZle-W2CFsooEyQ0U_Di4ffGUZHGgadbM1eDNpDrERXzo2Pgam41HgkIj2J3Oq0D1CNQLrbv97dpEhcYdLJn9dhj2u9wztZgAzFrTXq5hbf7_lRKuLRVOQ46JQzF66zJZg/s1600-h/bscap0002e.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkqywDG3-8DhZle-W2CFsooEyQ0U_Di4ffGUZHGgadbM1eDNpDrERXzo2Pgam41HgkIj2J3Oq0D1CNQLrbv97dpEhcYdLJn9dhj2u9wztZgAzFrTXq5hbf7_lRKuLRVOQ46JQzF66zJZg/s400/bscap0002e.jpg" alt="" id="BLOGGER_PHOTO_ID_5051426722479530322" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL5Xzcer6kBI9cdtCBTtCkLMN0QQAFvmmutTIegxuwKAQW6GeN_hBBFekmZCVp4hZjJEmIsAl_t6Gry79ngDSb0E46N1avIS8-VOMFFshRg3AlxLr2XXH5b1VnJ5La0RBNkpqQZpXNoJ4/s1600-h/bscap0003e.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL5Xzcer6kBI9cdtCBTtCkLMN0QQAFvmmutTIegxuwKAQW6GeN_hBBFekmZCVp4hZjJEmIsAl_t6Gry79ngDSb0E46N1avIS8-VOMFFshRg3AlxLr2XXH5b1VnJ5La0RBNkpqQZpXNoJ4/s400/bscap0003e.jpg" alt="" id="BLOGGER_PHOTO_ID_5051426722479530338" border="0" /></a><br /></span><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">Barbe-Bleue, de René Bertrand</span><span style="font-weight: bold;"><br />1938, 13', coul.</span><span style="font-weight: bold;"><br />Musique : Maurice JAUBERT.</span><br /><br /></span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><a href="http://files-upload.com/135263/JeanPainlev-BarbeBleue.avi.html" style="font-weight: bold;" target="_blank" class="postlink"></a></span><span style=";font-family:georgia;font-size:100%;" class="postbody" >DEAD LINK (forw now....)<br /><br /><br /></span><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">La Quatrième dimension</span> <span style="font-weight: bold;"> 1936, 10', n&b, son.<br /></span></span><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;"> Trucages : A.P. Dufour</span><br /><br /></span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><span style="font-weight: bold;"><a href="http://files-upload.com/133050/JeanPainlev-LaQuatriemedimension.avi.html" target="_blank" class="postlink"></a></span></span><span style=";font-family:georgia;font-size:100%;" class="postbody" >DEAD LINK (forw now....)</span><br /><span style=";font-family:georgia;font-size:100%;" ><br /></span><span style=";font-family:georgia;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxsqV4_5IVHUHQBJdZsx5d29RuMWDNn0_U41PN1iXoQ4LyKdyyje8DWaUn9UDyksyI3xTFGNAzvobk67rx88-cOInZEKlmDKh0K1x5dAQrOK_iwyivfwL5KW7VvyRPWuURQ7iE4gucVSw/s1600-h/bscap0005f.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxsqV4_5IVHUHQBJdZsx5d29RuMWDNn0_U41PN1iXoQ4LyKdyyje8DWaUn9UDyksyI3xTFGNAzvobk67rx88-cOInZEKlmDKh0K1x5dAQrOK_iwyivfwL5KW7VvyRPWuURQ7iE4gucVSw/s400/bscap0005f.jpg" alt="" id="BLOGGER_PHOTO_ID_5051425154816467106" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD1ZAdMp2CPQbszmrO7l-QicFWI8EvZlEP-DF9RCW3baDr_xi2NKwQsX7K9KqxMXSfRnS_L-llev9TBW5TvooayQkZoKa64gIKvblpzBMM4XJl73IOxwM7nlf2aI9fVnOpn5By_QQVycA/s1600-h/bscap0004f.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD1ZAdMp2CPQbszmrO7l-QicFWI8EvZlEP-DF9RCW3baDr_xi2NKwQsX7K9KqxMXSfRnS_L-llev9TBW5TvooayQkZoKa64gIKvblpzBMM4XJl73IOxwM7nlf2aI9fVnOpn5By_QQVycA/s400/bscap0004f.jpg" alt="" id="BLOGGER_PHOTO_ID_5051425154816467122" border="0" /></a><br /></span><span style=";font-family:georgia;font-size:100%;" ><span style="font-weight: bold;">Le Vampire</span> <span style="font-weight: bold;"> 1945, 9', n&b</span><br /><span style="font-weight: bold;">Musique : Duke Ellington<br /><br /></span></span><span style=";font-family:georgia;font-size:100%;" class="postbody" ><span style="font-weight: bold;"><a href="http://files-upload.com/132818/JeanPainlev-Levampire.avi.html" target="_blank" class="postlink"></a></span></span><span style=";font-family:georgia;font-size:100%;" class="postbody" >DEAD LINK (forw now....)</span><br /><span style=";font-family:georgia;font-size:100%;" ><br /></span><span style=";font-family:georgia;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuDjK1iIft0EuOKY_AaURlUTHeNptCioKA5c__yWYHbReWEkegKCgAOuSRYJzjicwXDh05EdUWJbMxygVz5vLpJViSLkWsyTV2iwCEE01t4IXsEx4B2FMyukeubZ_P9qKkM5K64Ys0RQM/s1600-h/bscap0008g.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuDjK1iIft0EuOKY_AaURlUTHeNptCioKA5c__yWYHbReWEkegKCgAOuSRYJzjicwXDh05EdUWJbMxygVz5vLpJViSLkWsyTV2iwCEE01t4IXsEx4B2FMyukeubZ_P9qKkM5K64Ys0RQM/s400/bscap0008g.jpg" alt="" id="BLOGGER_PHOTO_ID_5051425150521499794" border="0" /></a></span>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com2tag:blogger.com,1999:blog-5527824975843919230.post-71194457431175614962007-04-09T02:53:00.000+01:002007-04-09T13:44:40.804+01:00First Movie, First Masterpiece<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img263.imageshack.us/img263/3904/legendedujudocoverbm9.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img263.imageshack.us/img263/3904/legendedujudocoverbm9.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://japonline.free.fr/data/Images/culture/kurosawa/g_sugata2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://japonline.free.fr/data/Images/culture/kurosawa/g_sugata2.jpg" alt="" border="0" /></a>The directorial debut from one of the screen’s greatest ever directors – Akira Kurosawa. Sugata Sanshiro is the tale of the emergence of the fighting art of Judo in old Japan. Set in the late 19th century, the film follows an awkward young man Sugata and his quest for knowledge. After witnessing some Ju-Jitsu bullies beaten by a man with a new fighting style, Sugata yearns to learn the emerging art of Judo. As Sugata aims to beat the Ju-Jitsu masters he also fights a battle with his inner self.<br /><br />Stated at beginning of film:<br /><span style="font-style: italic;"> APOLOGY: This is an edited version of Mr Kurosawa's first film. The original film was released in March 1943. Some 1856 feet had been cut from it by the censors without the permission of the director or his staff. Although these restrictions have now been lifted we are unable to restore the film to its original form as the edited parts were lost during the post-war confusion. But we have decided to re-release this film as we believe it has value even in edited form. We seek the understanding of our patrons in this matter.</span><br /><br /><br /><br /><div style="overflow: visible; display: block; position: relative; width: 0px; height: 0px; left: 0px; padding-left: 0px; top: 0px; z-index: 65535; opacity: 0.5;"><div style="border-style: ridge; border-width: 2px 2px 0px; display: block; position: relative; left: -70px; top: -18px; width: 66px; height: 16px; -moz-border-radius-topright: 10px; -moz-border-radius-topleft: 10px; -moz-border-radius-bottomright: 0px; -moz-border-radius-bottomleft: 0px; background-color: white; color: black; cursor: pointer; font-family: Arial,Helvetica,Sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; direction: ltr;">Adblock</div></div><div style="overflow: visible; display: block; position: relative; width: 0px; height: 0px; left: 0px; padding-left: 0px; top: 0px; z-index: 65535; opacity: 0.5;"><div style="border-style: ridge; border-width: 2px 2px 0px; display: block; position: relative; left: -70px; top: -18px; width: 66px; height: 16px; -moz-border-radius-topright: 10px; -moz-border-radius-topleft: 10px; -moz-border-radius-bottomright: 0px; -moz-border-radius-bottomleft: 0px; background-color: white; color: black; cursor: pointer; font-family: Arial,Helvetica,Sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; direction: ltr;">Adblock</div></div><div style="overflow: visible; display: block; position: relative; width: 0px; height: 0px; left: 0px; padding-left: 0px; top: 0px; z-index: 65535; opacity: 0.5;"><div style="border-style: ridge; border-width: 2px 2px 0px; display: block; position: relative; left: -70px; top: -18px; width: 66px; height: 16px; -moz-border-radius-topright: 10px; -moz-border-radius-topleft: 10px; -moz-border-radius-bottomright: 0px; -moz-border-radius-bottomleft: 0px; background-color: white; color: black; cursor: pointer; font-family: Arial,Helvetica,Sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; direction: ltr;">Adblock</div></div><div style="overflow: visible; display: block; position: relative; width: 0px; height: 0px; left: 0px; padding-left: 0px; top: 0px; z-index: 65535; opacity: 0.5;"><div style="border-style: ridge; border-width: 2px 2px 0px; display: block; position: relative; left: -70px; top: -18px; width: 66px; height: 16px; -moz-border-radius-topright: 10px; -moz-border-radius-topleft: 10px; -moz-border-radius-bottomright: 0px; -moz-border-radius-bottomleft: 0px; background-color: white; color: black; cursor: pointer; font-family: Arial,Helvetica,Sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; direction: ltr;">Adblock</div></div><embed style="width: 560px; height: 456px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=-963042073023946789" flashvars=""></embed><div style="overflow: visible; display: block; position: relative; width: 0px; height: 0px; left: 0px; padding-left: 0px; top: 0px; z-index: 65535; opacity: 0.5;"><div style="border-style: ridge; border-width: 0px 2px 2px; display: block; position: relative; left: -70px; top: 0px; width: 66px; height: 16px; -moz-border-radius-topright: 0px; -moz-border-radius-topleft: 0px; -moz-border-radius-bottomright: 10px; -moz-border-radius-bottomleft: 10px; background-color: white; color: black; cursor: pointer; font-family: Arial,Helvetica,Sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; direction: ltr;">Adblock</div></div><div style="overflow: visible; display: block; position: relative; width: 0px; height: 0px; left: 0px; padding-left: 0px; top: 0px; z-index: 65535; opacity: 0.5;"><div style="border-style: ridge; border-width: 0px 2px 2px; display: block; position: relative; left: -70px; top: 0px; width: 66px; height: 16px; -moz-border-radius-topright: 0px; -moz-border-radius-topleft: 0px; -moz-border-radius-bottomright: 10px; -moz-border-radius-bottomleft: 10px; background-color: white; color: black; cursor: pointer; font-family: Arial,Helvetica,Sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; direction: ltr;">Adblock</div></div><br /><br /><br /> <div id="description">"Sanshiro, a strong stubborn youth, comes to the city to apprentice at a jujitsu school. His first night, he sees Yano in action, a master of judo, a more spiritual art, and he begs to be Yano's student. As the youth learns technique, he must also learn "satori," the calm acceptance of Nature's law. If he can balance strength and control, then judo may become the training regimen for the city's police, Sanshiro can gain respect from an old teacher in a jujitsu school, and he can win the hand of Sayo, that teacher's daughter, who is also sought by jujitsu's finest master, the implacable Higaki, who vows to kill Sanshiro in a midnight fight on a windswept mountainside. " -<a href="http://www.imdb.com/title/tt0036400">imdb.com</a><br /></div>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com0tag:blogger.com,1999:blog-5527824975843919230.post-74897163280144594292007-04-08T12:10:00.000+01:002007-04-08T12:12:23.820+01:00Movies for Free !Want to watch movies for free?<br /><a href="http://www.archive.org/details/feature_films">Internet Archive</a> has public domain films you can watch on site, and downloadable files you can transfer to disc and watch at home.<br />This great site offers a wide variety of films, from silent shorts starring comedy greats <a href="http://www.archive.org/search.php?query=charlie%20chaplin%20AND%20mediatype%3Amovies%20AND%20collection%3Amoviesandfilms">Charlie Chaplin </a>and <a href="http://www.archive.org/search.php?query=stan%20laurel%20AND%20mediatype%3Amovies%20AND%20collection%3Amoviesandfilms">Stan Laurel</a>, to feature films such as Robert Wiene's <em><a href="http://www.archive.org/search.php?query=stan%20laurel%20AND%20mediatype%3Amovies%20AND%20collection%3Amoviesandfilms">Cabinet of Dr. Caligari</a></em> 1919 and Michael Reeves <em><a href="http://www.archive.org/details/TheSheBeast">The She Beast</a></em> 1966. Just a few examples of the diverse offerings silent film fans can sample are; a very nice print of <a href="http://www.archive.org/details/PublicdomainTheLastoftheMohicans"><em>Last of the Mohicans</em> </a>1920, Murnau's <em><a href="http://www.archive.org/details/nosferatu">Nosferatu</a> </em>1922, and cowboy star Bob Custer in <em><a href="http://www.archive.org/details/ArizonaDays">Arizona Days</a></em> 1928. Pre-code film fans can see Mary Brian, Irene Rich, and Noel Francis in <em><a href="http://www.archive.org/details/manhattan_tower">Manhattan Tower</a></em> 1932, the beautiful ice cream blonde Thelma Todd in <em><a href="http://www.archive.org/details/klondike_1932">Klondike</a></em> 1932, Monte Blue and Natalie Moorhead in <em><a href="http://www.archive.org/details/the_stoker">The Stoker</a></em> 1932, Preston Foster, Arline Judge, and Kenneth MacKenna in the entertaining low budget tale <em><a href="http://www.archive.org/details/sensation_hunters">Sensation Hunters</a></em> 1933, a young Lon Chaney Jr.(billed as Creighton, doing comedy, and showing off a fine physique!) and Eddie Nugent in <a href="http://www.archive.org/details/girl_o_my_dreams"><em>Girl O'My Dreams</em> </a>1934, Victor McLaglen larger than life in <em><a href="http://www.archive.org/details/laughing_at_life">Laughing at Life</a></em> 1933, Evelyn Brent and Pat O'Brien in the not too bad <em><a href="http://www.archive.org/details/WorldGoneMad">The World Gone Mad</a></em> 1933, Bette Davis and Pat O'Brien in <em><a href="http://www.archive.org/details/hells_house">Hells H</a><a href="http://www.archive.org/details/hells_house">ouse</a></em> 1932, and scene stealing Roland Young with Lillian Gish in <em><a href="http://www.archive.org/details/his_double_life">His Double Life</a></em> 1933. Sherlock Holmes fans can download <em><a href="http://www.archive.org/details/The_Sign_OF_Four">The Sign of Four</a></em> 1932, and <em><a href="http://www.archive.org/details/Murder_At_The_Baskervilles">Murder at the Baskervilles</a></em> 1937 both starring Arthur Wontner, <a href="http://www.archive.org/details/Murder_At_The_Baskervilles"><em>A Study in Scarlet</em> </a>1933 with Reginald Owen, <em><a href="http://www.archive.org/details/secret_weapon">Sherlock Holmes and the Secret Weapon</a></em> 1943, and <a href="http://www.archive.org/details/terror_by_night_ipod"><em>Terror by Night</em> </a>1946, both featuring Basil Rathbone. The classics are also well represented and include Fritz Lang's <em><a href="http://www.archive.org/details/M_">M</a> </em>1931, <em><a href="http://www.archive.org/details/ThingstoCome">Things to Come</a></em> 1936, <em><a href="http://www.archive.org/details/my_man_godfrey">My Man Godfrey</a></em> 1936, the animated <em><a href="http://www.archive.org/details/gullivers_travels1939">Gulliver's Travels</a></em> 1939, <em><a href="http://www.archive.org/details/his_girl_friday">His Girl Friday</a></em> 1940, <em><a href="http://www.archive.org/details/the_quiet_one">The Quiet One</a></em> 1948, Robert Rossen's <em><a href="http://www.archive.org/details/mambo">Mambo</a></em> 1954, and Romero's <em><a href="http://www.archive.org/details/night_of_the_living_dead">Night of the Living Dead</a></em> 1968.<br /><br />Most of the Mpeg-1 and Mpeg -2 files are anywhere from 200MB to 3GB in size. Downloading a 700 MB file @ 100 kbs takes me approximately 2 hours, and a 2.5 GB file at 100kbs takes me around 8 hrs.<br />There is an occasional corrupted file, but the majority I've downloaded are just fine.<br />These films are in the public domain, free and legal to download.<br />However, If you're expecting uncut pristine quality films, these prints may not be to your liking, and retail outlets would probably be your best source.merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com0tag:blogger.com,1999:blog-5527824975843919230.post-13190936516280983682007-04-06T12:04:00.000+01:002007-04-08T12:14:16.526+01:00Arthouse<div style="text-align: left;"><b>Go, Go Second Time Virgin, </b><b><span style="font-weight: bold;">de </span></b><span style="font-weight: bold;">Koji Wakamatsu (1969)</span><br /></div><span style="font-weight: bold;"><br /></span><i>Une jeune fille est violée sur le toit d'un immeuble par une bande de loubards. Marquée par cet évênement qu'elle avait déjà vécu une première fois, elle n'a plus que des désirs de mort. Elle fait par la suite connaissance avec un jeune homme à qui elle se confie. Mais ce dernier cache lui aussi un terrible secret...</i><br /><br />C'est sur le toit du building de sa propre boîte de production que Wakamatsu a tourné (en 4 jours!) ce film culte de la jeunesse japonaise des 60's. Unique en son genre, <b>Go, Go Second Time Virgin</b> est plus qu'un film; c'est un véritable poème sur pelliculle, où la puissance des dialogues et la beauté des plans associées aux différents thèmes musicaux (du blues au jazz, en passant par la pop) en font une oeuvre touchante malgré la cruautée graphique de certaines scènes (viols & meutres notamment).<br /><br />Malgré sa courte durée, <b>Go, Go Second Time Virgin</b> est un film au rhytme lent mais prenant où Wakamatsu utilise à fond les possibilités que lui donnent un décor unique. Puissant.<br /><span style="font-weight: bold;"><br /></span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i94.photobucket.com/albums/l83/Kane32/shot0001-3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i94.photobucket.com/albums/l83/Kane32/shot0001-3.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i94.photobucket.com/albums/l83/Kane32/shot0006-3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i94.photobucket.com/albums/l83/Kane32/shot0006-3.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i94.photobucket.com/albums/l83/Kane32/shot0008-1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i94.photobucket.com/albums/l83/Kane32/shot0008-1.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i94.photobucket.com/albums/l83/Kane32/shot0004-6.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i94.photobucket.com/albums/l83/Kane32/shot0004-6.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i94.photobucket.com/albums/l83/Kane32/shot0007-1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i94.photobucket.com/albums/l83/Kane32/shot0007-1.jpg" alt="" border="0" /></a><br /><b><br />RAPIDSHARE:</b><br /><a href="http://rapidshare.com/files/24092433/GGSTV.part1.rar">part1</a><br /><a href="http://rapidshare.com/files/24128578/GGSTV.part2.rar">part2</a><br /><a href="http://rapidshare.com/files/24137289/GGSTV.part3.rar">part3</a><br /><a href="http://rapidshare.com/files/24145096/GGSTV.part4.rar">part4</a><br /><a href="http://rapidshare.com/files/24215734/GGSTV.part5.rar">part5</a><br /><a href="http://rapidshare.com/files/24333577/GGSTV.part6.rar">part6</a><br /><br /><b style="color: rgb(255, 0, 0);">Password:</b><span style="color: rgb(255, 0, 0);"> oldscot</span><br /><br /><br />/////<br /><br /><span style="font-weight: bold;">Lost Highway, de David Lynch (1997)</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://pix.nofrag.com/d2/c8/cd4f2cceb9dd46448cf8023b6ec3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://pix.nofrag.com/d2/c8/cd4f2cceb9dd46448cf8023b6ec3.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://pix.nofrag.com/31/c5/01fc33e6857c0001826287b3587b.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://pix.nofrag.com/31/c5/01fc33e6857c0001826287b3587b.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://pix.nofrag.com/e6/5c/a96c57c0eac4ff82f8b8d476dc16.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://pix.nofrag.com/e6/5c/a96c57c0eac4ff82f8b8d476dc16.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://pix.nofrag.com/bb/35/ffddd70a57f81cbcfaea1276e26f.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://pix.nofrag.com/bb/35/ffddd70a57f81cbcfaea1276e26f.jpg" alt="" border="0" /></a><b><br />RAPIDSHARE:</b><br /><a style="font-family: trebuchet ms;" href="http://rapidshare.de/files/25767356/Lost_Highway__1997_.part1.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"> Part1</a><span style="font-family:trebuchet ms;"><span style="text-decoration: underline;"><br /></span></span><a style="font-family: trebuchet ms;" href="http://rapidshare.de/files/25767109/Lost_Highway__1997_.part2.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Part2</a><span style="font-family:trebuchet ms;"><span style="text-decoration: underline;"><br /></span></span><a style="font-family: trebuchet ms;" href="http://rapidshare.de/files/25767122/Lost_Highway__1997_.part3.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Part3</a><br /><a style="font-family: trebuchet ms;" href="http://rapidshare.de/files/25767276/Lost_Highway__1997_.part4.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Part4</a><br /><a style="font-family: trebuchet ms;" href="http://rapidshare.de/files/25769458/Lost_Highway__1997_.part5.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Part5</a><br /><a style="font-family: trebuchet ms;" href="http://rapidshare.de/files/25769596/Lost_Highway__1997_.part6.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Part6</a><span style="font-family:trebuchet ms;"><span style="text-decoration: underline;"><br /></span></span><a style="font-family: trebuchet ms;" href="http://rapidshare.de/files/25769481/Lost_Highway__1997_.part7.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Part7</a><span style="font-family:trebuchet ms;"><span style="text-decoration: underline;"><br /></span></span><a style="font-family: trebuchet ms;" href="http://rapidshare.de/files/25767575/Lost_Highway__1997_.part8.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">Part8</a><br /><br /><b style="color: rgb(255, 0, 0);">Password:</b><span style="color: rgb(255, 0, 0);"> KAMRAN</span>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com1tag:blogger.com,1999:blog-5527824975843919230.post-10159994512381203532007-03-22T16:11:00.000+01:002007-03-22T16:26:44.101+01:00EnvyEnvy est un groupe de hardcore/screamo japonais fondé en 1992. Contrairement aux autres groupes du genre, les textes d'Envy sont entièrement en japonais. C'est en 2001, après avoir sorti plus d'une douzaine d'EPs et de singles, que le groupe sort son premier album.<br /><br />En 2006, Insomniac Doze marque un tournant par rapport à l'album précédent A Dead Sinking Story. La musique du groupe s'oriente alors beaucoup plus vers le post-rock d'un groupe comme Mono ou Godspeed You! Black Emperor, pour délaisser un peu la virulence typiquement screamo qui les caractérisait principalement jusqu'alors.<br /><br />Ils sont distribué par le label de Mogwai, Rock Action<br /><br />Membres<br />* Tetsuya Fukagawa (Chant)<br />* Nobukata Kawai (Guitare)<br />* Masahiro Tobita (Guitare)<br />* Manabu Nakagawa (Basse)<br />* Dairoku Seki (Batterie)<br /><a href="http://en.wikipedia.org/wiki/Envy_%28band%29" target="_blank"></a><a href="http://www.megaupload.com/?d=Q5P0TI3X" target="_blank"></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.megaupload.com/?d=1LTI99N9"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 268px; height: 268px;" src="http://www.neformat.com.ua/logo/album/breathing_and_dying_in_this_place.jpg" alt="" border="0" /></a><span style="font-weight: bold;">Breathing And Dying In This Place... Ep (1996)</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.neformat.com.ua/logo/album/from_here_to_eternity.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 246px; height: 246px;" src="http://www.neformat.com.ua/logo/album/from_here_to_eternity.jpg" alt="" border="0" /></a>From Here to Eternity (1998)<br />(je ne lai pas, désolé...)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.megaupload.com/?d=0KAK5NKJ"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 288px; height: 288px;" src="http://www.neformat.com.ua/logo/album/angels_curse_whispered_in_the_edge_of_despair.jpg" alt="" border="0" /></a><span style="font-weight: bold;">Angel's Curse Whispered In The Edge Of Despair (1999)</span><br /><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=1QO3CVR3" target="_blank">Burning Out The Memories</a><span style="font-weight: bold;"> Ep - (2000)</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.megaupload.com/?d=Q5P0TI3X"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 296px; height: 296px;" src="http://www.neformat.com.ua/logo/album/the_eyes_of_single_eared_prophet.jpg" alt="" border="0" /></a><span style="font-weight: bold;">The Eyes Of A Single Eared Prophet - Ep - (2000)</span><br /><br /><br /><div style="text-align: center;"><a href="http://www.megaupload.com/?d=N7JDNFD0" target="_blank"><img src="http://ec1.images-amazon.com/images/G/01/ciu/fe/82/dd6fa2c008a062fe41055010.L.jpg" height="300" width="300" /></a><br /><br /></div><span style="font-weight: bold;">All The Footprints You've Ever Left And Fear Expecting Ahead (2001)</span><br /><br /><div style="text-align: center;"><a href="http://www.megaupload.com/?d=FRK7BYCP" target="_blank"><img src="http://www.jess.ee/catalog/images/Envy%20-%20A%20Dead%20Sinking%20Story.jpg" height="300" width="300" /></a><br /><br /></div><span style="font-weight: bold;">A Dead Sinking Story (2003)</span><br /><br /><div style="text-align: center;"><a href="http://www.megaupload.com/?d=OFUVQEZJ" target="_blank"><img src="http://images.amazon.com/images/P/B000FDEZK8.01._SS500_SCLZZZZZZZ_V54165757_.jpg" height="300" width="300" /></a><br /><br /></div><span style="font-weight: bold;">Insomniac Doze (2006)</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.megaupload.com/?d=M2HA9VW4"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 293px; height: 265px;" src="http://www.diskshop-misery.com/cgi/img/20050618160400envy1997-2003.JPG" alt="" border="0" /></a><span style="font-weight: bold;">Compiled Frafments 1997-2003</span>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com2tag:blogger.com,1999:blog-5527824975843919230.post-87237490966331582602007-03-19T13:29:00.000+01:002007-04-08T11:34:14.514+01:00New French Cinema... and David Lodge<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img365.imageshack.us/img365/4219/vlcsnap1214608nj8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img365.imageshack.us/img365/4219/vlcsnap1214608nj8.jpg" alt="" border="0" /></a><br /><span style="font-weight: bold;">Le Dernier Chaperon rouge, de Jan Kounen</span> <span style="font-weight: bold;">1996, 26', 35MM, coul., son.</span><br /><br /><span class="pBlancTab">C'est un jardin extraordinaire, un jardin de Perlimpimpim où girolles, bolets, lapins, ronces et libellules chantent et dansent au son d'une musique venue de nulle part... C'est aussi le refuge du Dernier Chaperon Rouge, convoité par une grand-mère sorcière et un méchant loup qui ne veut plus être muselé...<br /><br /></span><span class="pBlancTab">Avec : Emmanuelle Béart, Marc Caro, Gérald Weingand<br /><br /></span><a href="http://files-upload.com/122601/JanKounen-LeDernierChaperonRouge1996.avi.html" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >----> cest ici que ça se passe <----</span></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/6008/bscap0004vj5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/6008/bscap0004vj5.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/3402/bscap0001vj0.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/3402/bscap0001vj0.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/6605/bscap0005xm5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/6605/bscap0005xm5.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/9886/bscap0010kd4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/9886/bscap0010kd4.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/3755/bscap0013wr4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/3755/bscap0013wr4.jpg" alt="" border="0" /></a><br />/////<br /><br /><span style="font-weight: bold;">Capitaine X, de Jan Kounen</span> <span style="font-weight: bold;">1994, 12', 35MM, coul., son.<br /><br /></span><span style=";font-family:Arial,Helvetica,sans-serif;font-size:85%;" >Vous êtes otage d'une bande de dégénérés qui cherchent un moyen de s'amuser avec votre misérable carcasse... mais ils ne savent pas qu'ils sont tombés sur un coriace!<br /><br /></span><a href="http://files-upload.com/122798/JanKounen-CapitaineX.1994.DVDRip.XviD.av.avi.html" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >----> cest ici que ça se passe <----</span></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img329.imageshack.us/img329/1982/vlcsnap1215244ao4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img329.imageshack.us/img329/1982/vlcsnap1215244ao4.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img329.imageshack.us/img329/1310/vlcsnap1215160vm9.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img329.imageshack.us/img329/1310/vlcsnap1215160vm9.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/176/vlcsnap1215342er6.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/176/vlcsnap1215342er6.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img301.imageshack.us/img301/4195/vlcsnap1216503ya8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img301.imageshack.us/img301/4195/vlcsnap1216503ya8.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://idata.over-blog.com/0/54/80/25/sangsues/captainx3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://idata.over-blog.com/0/54/80/25/sangsues/captainx3.jpg" alt="" border="0" /></a><br />/////<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://kubrick77.free.fr/photos/sct/SCT-affiche%20recto.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://kubrick77.free.fr/photos/sct/SCT-affiche%20recto.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://kubrick77.free.fr/photos/sct/SCT-affiche%20verso.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://kubrick77.free.fr/photos/sct/SCT-affiche%20verso.jpg" alt="" border="0" /></a><span style="font-weight: bold;">Seul Contre Tous, de Gaspar Noé</span> <span style="font-weight: bold;">1999, 93', 16mm gonflé en 35mm, coul., son.</span><br /><br /><span style=";font-family:arial,helvetica;font-size:100%;" > Premier long métrage du réalisateur argentin Gaspard Noé, ce film complète la sélection de la 37e Semaine internationale de la critique.<br /><i>Seul contre tous</i> (qui a failli s'appeler Morale, ou Pénis, ou encore Rance) continue et complète le moyen métrage <i>Carne</i>, présenté à la Semaine de la Critique en 1991, sur un sujet scabreux: les aventures amoureuses entre un père (boucher chevalin) et sa fille qu'il a élevée seul après le départ de sa femme.<br /><br /></span><span style=";font-family:arial,helvetica;font-size:100%;" > Dans <i>Seul contre tous</i>, Gaspar Noé donne une suite aux aventures du boucher chevalin de <i>Carne</i>, son moyen métrage remarqué dans les festivals du monde entier. Mais <i>Seul contre tous</i> peut néanmoins s'apprécier indépendamment de <i>Carne</i>. Si au début de <i>Seul contre tous</i>, un bref montage d'images inédites récapitule l'itinéraire du protagoniste, l'action débute dans la banlieue de Lille où le boucher s'est installé chez la mère de sa compagne, bien décidé à "remettre le compteur à zéro" et à commencer une nouvelle vie.<br /></span><ul><li>Prix de la Semaine de la Critique et mention du Prix de la Jeunesse au Festival de Cannes</li><li>Prix de la critique internationale au festival de Sarajevo</li><li>Prix spécial du jury aux Rencontres franco-américaines d'Avignon</li><li>Prix du meilleur acteur au Festival de Namur</li><li>Prix du meilleur scénario au festival de Sitges</li><li>Prix du meilleur premier film et de la meilleure photo au festival de Stockholm</li><li>Prix Très Spécial</li><li>Prix Mercedes-Benz 1998 et Prix du meilleur scénario au Festival de Stiges</li></ul><span style="font-style: italic;"><br />« Un saucisson de merde, un pinard de merde et une famille de merde dans un bled de merde, te voilà bien tombé boucher hein, tu parles d'une nouvelle vie »</span><span style="font-style: italic;"><br /><br /></span><span style="font-style: italic;">« Naître malgré soi, bouffer, agiter sa queue, faire naître et mourir. La vie est un grand vide, elle a toujours été et elle le sera toujours. Un grand vide qui pourrait parfaitement se dérouler sans moi »</span><br /><br /><span style="font-style: italic;">« Non, "baiser" n'est pas un bon calcul, ça coûte même très cher mais ça fait passer le temps. Et quand le désir de baiser est parti on se rend compte qu'on a plus rien à faire dans ce monde et qu'il n'y a jamais rien eu d'autre dans cette putain de vie. Rien qu'un programme de reproduction inscrit au fond de nos tripes et qu'on se croît obligé de respecter »</span><span style="font-style: italic;"><br /><br />« Tu vois pas que maintenant ton bébé n'est plus qu'un steak, un bout de viande éclaté. Au moins, lui, il aura eu la chance de jamais voir ta sale gueule »</span><br /><br /><span style="font-weight: bold;">Le dossier de presse de Seul Contre Tous, </span><a style="font-weight: bold;" href="http://kubrick77.free.fr/DP_Seul_contre_tous.pdf">cliquez ici</a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://kubrick77.free.fr/photos/sct/SCT-tracts%20tricolores.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://kubrick77.free.fr/photos/sct/SCT-tracts%20tricolores.jpg" alt="" border="0" /></a><a style="font-weight: bold;" href="http://www.megaupload.com/fr/?d=CJHT5WPO" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span></span></a><span style="font-weight: bold;"><a href="http://www.megaupload.com/fr/?d=CJHT5WPO" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="color: rgb(0, 0, 0);font-size:100%;" >part 01</span></a><br /><a href="http://www.megaupload.com/fr/?d=3SFGXFUS">part 02</a></span><span style="text-decoration: underline;"><br /></span><a style="font-weight: bold;" href="http://www.megaupload.com/fr/?d=KHXPI7XP">part 03</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img111.imageshack.us/img111/9607/vlcsnap7455900ky4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img111.imageshack.us/img111/9607/vlcsnap7455900ky4.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img125.imageshack.us/img125/903/vlcsnap7455606lz8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img125.imageshack.us/img125/903/vlcsnap7455606lz8.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img354.imageshack.us/img354/1821/vlcsnap7455821tc8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img354.imageshack.us/img354/1821/vlcsnap7455821tc8.jpg" alt="" border="0" /></a>////<br /><br /><span class="Style55"><em><strong></strong></em><br /><span style="font-weight: bold;">La Comtesse de Castiglione, de David Lodge</span><br /><span style="font-weight: bold;">1998, </span></span><span style="font-weight: bold;">13'30'', 35mm </span><span class="Style55"><br /><br />Théâtre surréaliste, inspiré de portraits réalisés en 1855 par les photographe Mayer Frères et Louis Pierson; On retrouve dans ce film l’atmosphère d’Eraserhead de Lynch.<br /><br /></span><a href="http://files-upload.com/125662/DavidLodge-LeComtessedeCastiglione1998.a.avi.html"><span></span></a><a href="http://files-upload.com/125662/DavidLodge-LeComtessedeCastiglione1998.a.avi.html" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >----> cest ici que ça se passe <----</span></a><a href="http://files-upload.com/125662/DavidLodge-LeComtessedeCastiglione1998.a.avi.html" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img187.imageshack.us/img187/3350/cagliostrocover1cg9.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img187.imageshack.us/img187/3350/cagliostrocover1cg9.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img156.imageshack.us/img156/9625/cagliostro6dg2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img156.imageshack.us/img156/9625/cagliostro6dg2.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img156.imageshack.us/img156/2788/cagliostro7mt3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img156.imageshack.us/img156/2788/cagliostro7mt3.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img262.imageshack.us/img262/3756/cagliostro5fe8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img262.imageshack.us/img262/3756/cagliostro5fe8.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img148.imageshack.us/img148/6813/cagliostro8ps4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img148.imageshack.us/img148/6813/cagliostro8ps4.jpg" alt="" border="0" /></a>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com0tag:blogger.com,1999:blog-5527824975843919230.post-42594182600640091212007-03-16T16:57:00.000+01:002007-04-09T00:36:03.821+01:00Cult Movies<h1>Hadaka no shima AKA Naked Island, de Kaneto Shindô<br /></h1><h1>(1960)<br /></h1><br /><b><br /></b><span class="histoire"><strong> Sur une île</strong> quasiment désertique de l’archipel de Setonaikai (au sud-est du Japon), une famille travaille sans interruption pour faire pousser graminées et légumes. La difficulté de leur tâche vient essentiellement du manque d’eau, qu’il faut aller chercher sur l’île voisine au prix d’efforts ininterrompus. Parmi les deux enfants, l’aîné va à l’école jusqu’au jour où survient un drame …<br /><br /><br /><br /></span><em>"Je voulais faire un film très créatif au niveau visuel. Raconter l’histoire avec des images. Une histoire où chaque vue exprimerait un sentiment du bonheur, de la tristesse, dans un décor naturel."</em><br /> Kaneto Shindo<br /> <br /> En 1961, la société de production indépendante Kindaï Eiga Kyokai (créée dix ans auparavant par le réalisateur Kaneto Shindo) connaît de graves difficultés financières. Afin d’éviter la faillite, Shindo doit trouver un projet potentiellement lucratif. N’ayant plus les moyens de produire un film dans un studio de Tokyo, il aborde le problème à contre-pied et envisage de réaliser une oeuvre qu’il qualifie "d’anti-commerciale" ! C’est avec trois millions de yens, soit un dixième du budget d’un film moyen, qu’il commence à travailler sur <em>L’île nue.</em><br /> <br /> Dans un premier temps, Shindo réfléchit à un scénario mettant en scène un couple de paysans et leurs deux enfants sur une île aride de l’archipel de Setonakaï. Son drame est minimaliste et le script tient sur quelques pages. Au fond, l’objectif n’est pas de construire une histoire pleine de péripéties, mais plutôt de plonger le spectateur au cœur d’une activité rurale difficile, certes, mais admirable. Rapidement, Shindo réunit une dizaine de techniciens avec lesquels il part sur l’île de Mihara non loin d’Hiroshima. Cette équipe, qui ne s’élargira pas au cours du temps, s’installe dans une auberge du village en bord de mer où elle restera pendant deux mois. Au large, une petite île désertique se dresse majestueusement hors de l’eau. Shindo la baptisera L’île nue…<br /> <br /> <em>L’île nue</em> se présente encore aujourd’hui comme un OVNI cinématographique. Primée au festival de Moscou en 1961, cette œuvre unique est une fenêtre contemplative sur le dur labeur d’une famille de paysans. Pendant une heure trente, le cinémascope de Shindo suit les quatre personnages en proie aux joies et difficultés d’une existence simple mais néanmoins riche en sentiments. De ce travail, on aurait pu craindre un résultat des plus ennuyeux. Mais dès les premiers plans, nos peurs s’évanouissent devant tant de beauté et d’expressivité. La question à laquelle nous allons essayer de répondre est : <em>"comment Shindo a t’il réussi à réaliser une œuvre si captivante avec un matériau d’une telle simplicité ?"</em><br /> <br /> <strong>Oublier les dialogues…<br /> <br /> </strong><img src="http://www.dvdclassik.com/images/Critiques/An/an_ilenue3.gif" align="right" height="109" hspace="10" width="182" />Pour commencer, le cinéaste a choisi de développer son histoire sans le moindre dialogue. Passionné par le cinéma muet, qu’il voit comme un puits d’expressivité, il souhaite que les images de <em>L’île nue</em> se suffisent à elles-mêmes. L’humanité des personnages s’exprime dans un sourire lorsque le repas est dressé, ou dans des larmes lorsque le sort vient frapper leur destinée. Ici les regards pèsent plus lourd que tous les mots. La bande son est celle de la nature : on y entend le vent qui bruisse dans les feuilles, les baguettes qui tintent contre la porcelaine des bols du déjeuner ou le bruit sourd d’une bêche s’enfonçant dans la terre aride. Cette mise en scène naturaliste fonctionne à merveille et offre des séquences d’une rare intensité.<br /> <br /> La famille composée de deux parents et deux enfants vit sur cette petite île depuis longtemps, toujours peut-être. Les saisons rythment la culture du sol et les mots ne sont guère nécessaires. Le seul objectif des protagonistes est d’assurer leur survie. Pour cela ils cherchent de l’eau douce sur l’île voisine et irriguent leur terre. Parfois la capture d’un poisson vient rompre la monotonie du travail et provoque le rire. Une autre fois un seau d’eau est renversé et occasionne une réprimande physique. Jamais l’absence de dialogues ne perturbe la narration.<br /> <br /> <em>L’île nue</em> est un film du geste. Celui du travail de la terre, mais également du transport de l’eau. Les parents portent les seaux à l’aide d’une palanche. Cette tige de bois souple se tord sous le poids du liquide et force les hommes à se déhancher. De ce mouvement capté sur la pellicule de Shindo naît l’expression de l’effort, celui qui permet à l’humanité d’assurer ses besoins les plus primaires.<br /> <br /> <strong>Prendre son temps…<br /> <br /> </strong>Mais ce qui surprend le plus dans <em>L’île nue</em>, c’est la répétition des images et la longueur des plans. Le port des seaux d’eau à la palanche évoqué précédemment, le maniement de la godille pour faire avancer le bateau, l’arrosage de la terre sont autant de gestes filmés dans de longues séquences avec une patience hypnotisante. Cette attention portée à chacun des mouvements révèle le vrai visage de l’effort. Il ne s’agit pas de l’exploit violent et subi réalisé par le super héros d’un blockbuster ou d’un manga, mais de la réalité du travail. Tout n’est qu’attention, concentration et répétition. <p class="analyse">Là encore on aurait pu craindre de s’ennuyer devant de telles images. Mais les visions de Shindo associées au thème musical – lui aussi récurrent – de Hikaru Hayashi enveloppent le spectateur dans une bulle de beauté et de contemplation. Regarder L’île nue, c’est comme observer l’apparition d’un arc-en-ciel ou le coucher du soleil … Ici, il y a un amour de la photographie qui rappelle Soy Cuba (1964) de Kalatozov. D’ailleurs le premier plan de chacun des deux films est quasiment identique et d’une beauté comparable (un long travelling aérien sur le décor où va se dérouler le drame).<br /> <br /> <strong>Rester naturel</strong></p> <p class="analyse"><img src="http://www.dvdclassik.com/images/Critiques/An/an_ilenue2.gif" align="left" height="115" hspace="6" width="189" />Si les images de Shindo sont splendides, c’est parce qu’il a su les composer avec une patience amoureuse mais aussi parce qu’il a choisi de tourner avec le plus grand naturel. Il faut avouer que les paysages de l’archipel nippon sont tout simplement sublimes : la mer est lisse, le relief découpé avec harmonie et les cieux riches en nuances. Dans ce décor, chaque élément contribue à la méditation et Kaneto Shindo opte pour le noir et blanc afin d’évoquer l’aspect brut de cette beauté : au regard du spectateur, les îles de Setonakaï font figure de paradis sur Terre et le cinéaste amplifie ce sentiment grâce à un soin du cadrage de tous les instants. En revanche, pour les habitants de l’île, la beauté n’est pas évidente : les quelques kilomètres carrés de terre et de rochers perdus dans une mer cristalline constituent la source de leur souffrance. Cette opposition entre la beauté plastique du paysage et la difficulté à y vivre est suggérée par une photographie où les filtres orangés exacerbent les contrastes : les noirs sont profonds, les cieux assombris, tandis que les nuages et les roches sont d’une blancheur brute, presque aveuglante. Au-delà de cette symbolique suggérée par l’image, chaque plan est un superbe cliché qui impressionnera les photographes amateurs et captivera les yeux des spectateurs de tout âge.<br /> <br /> Dans un souci de perfectionnisme kubrickien - entre les deux artistes le rapport à la photo est évident - Shindo accentue le naturalisme de sa mise en scène grâce à des comédiens complètement fondus dans le paysage. Paradoxalement, c’est le manque de moyens attribués à la production qui finit par engendrer un tel résultat : ne pouvant avoir sous contrat des acteurs de renommée, Shindo se tourne vers deux de ses connaissances, Nabuko Otowa et Taiji Tonoyama. Il leur propose le rôle du couple en leur promettant qu’ils seront payés si le film fait des bénéfices ! Pour Tonoyama, c’est la première fois qu’il incarne un personnage principal. Acteur de second rôle, il est choisi pour son professionnalisme mais également pour son origine insulaire : natif d’une île voisine à celle du tournage, Tonoyama est familier avec la ruralité de l’archipel et endosse le rôle avec une facilité déconcertante. Son déhanchement lorsqu’il porte les seaux d’eau, son agilité à manier les outils en font un paysan tout à fait crédible. Parallèlement, la jeune Otowa est très à son aise dans ce personnage de femme meurtrie par l’effort et infaillible dans sa détermination. C’est peut-être elle qui, dans le film, incarne le plus intensément la souffrance humaine : lorsque la palanche pèse sur ses frêles épaules, tout son corps s’affaisse et ses muscles se raidissent à l’extrême. Ici, il n’y a pas de place pour la simulation. Les seaux sont bien remplis et l’effort est réel. La performance des deux comédiens est étonnante et sera applaudie par la critique du festival de Moscou en 1961. Pour l’anecdote, Shindo rappelle dans le commentaire audio du DVD que les journalistes étaient persuadés que Nabuko Otowa et Taiji Tonoyama étaient de véritables paysans ! Si cette idée peut paraître saugrenue elle n’est pas totalement idiote puisque tous les autres protagonistes du film sont des habitants de la région …<br /> <br /> Les deux enfants, par exemple, viennent du village qui abrite l’équipe de techniciens. Shindo les a repérés dans une école voisine et leur a proposé le rôle ! De la même façon, tous les autres personnages (des figurants), sont filmés sur leur lieu de vie. Lors des plans du village, il n’y a quasiment aucune mise en scène. Cette approche documentaliste de la réalisation, offre des séquences d’une rare harmonie et participe à la splendeur qui émane de <em>L’île nue</em>.<br /> <br /> Finalement, ce treizième long métrage de Shindo se présente comme un film d’une rare beauté et d’une profonde intensité dramatique. Nous l’avons vu, ce résultat fascinant n’est pas le fruit du scénario, mais d’une mise en scène ingénieuse et profondément intelligente. Dans les <em>"Lettres françaises"</em>, George Sadoul fait également part de sa fascination pour le travail de Kaneto Shindo : <em>"Dans l’île nue, film sans paroles, la révolution du montage sonore devient plus évidente. Un simple soupir y prend une valeur expressive comparable à ce que fut un battement de paupière pour exprimer une profonde émotion au temps du muet".<br /> <br /> L’île nue</em> est évidemment d’une incroyable richesse. Celle qui marque les mémoires d’une empreinte immuable liée à des valeurs universelles. Les efforts entrepris par nos héros sont simplement humains et, à fortiori, proches de tous les spectateurs. En supprimant les dialogues et en filmant le labeur, le drame et la beauté de la nature, Shindo affranchit son film de toute barrière culturelle. Son succès, tant public que critique, sera mondial. A chacun désormais, de faire abstraction de ses peurs face à un cinéma contemplatif et muet et de se plonger dans cette oeuvre d’une rare force cinématographique.</p><p class="analyse"><br /></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img135.imageshack.us/img135/5791/vlcsnap6830119dg.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img135.imageshack.us/img135/5791/vlcsnap6830119dg.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img135.imageshack.us/img135/4192/vlcsnap6824246uu.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img135.imageshack.us/img135/4192/vlcsnap6824246uu.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img135.imageshack.us/img135/6906/vlcsnap6826673er.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img135.imageshack.us/img135/6906/vlcsnap6826673er.jpg" alt="" border="0" /></a><b><br /></b><b>RAPIDSHARE:</b><br /><a href="http://rapidshare.com/files/19757913/TNI_BY_SCOTOBUKI.part1.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">part1</a><br /><a href="http://rapidshare.com/files/19778295/TNI_BY_SCOTOBUKI.part2.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">part2</a><br /><a href="http://rapidshare.com/files/19792529/TNI_BY_SCOTOBUKI.part3.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">part3</a><br /><a href="http://rapidshare.com/files/19866386/TNI_BY_SCOTOBUKI.part4.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">part4</a><br /><a href="http://rapidshare.com/files/19883273/TNI_BY_SCOTOBUKI.part5.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">part5</a><br /><a href="http://rapidshare.com/files/19896210/TNI_BY_SCOTOBUKI.part6.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">part6</a><br /><a href="http://rapidshare.com/files/19914207/TNI_BY_SCOTOBUKI.part7.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">part7</a><br /><a href="http://rapidshare.com/files/19932180/TNI_BY_SCOTOBUKI.part8.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)">part8</a><br /><br /><b style="color: rgb(255, 0, 0);">Password:</b><span style="color: rgb(255, 0, 0);"> oldscot<br /><span style="color: rgb(0, 0, 0);"><br />//////</span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://images.gildia.pl/_n_/film/filmy/sileni/poster-640.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://images.gildia.pl/_n_/film/filmy/sileni/poster-640.jpg" alt="" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img304.imageshack.us/img304/868/vlcsnap84505959ai.jpg"></a><h1>Sílení AKA Lunacy, de Jan Svankmajer</h1><h1>(2005)</h1>D’après un scénario original, le scénariste, plasticien et réalisateur, Jan Svankmajer, a réalisé son film, Sileni, qui se caractérise par son genre d'horreur philosophique et par sa combinaison entre le film et l'animation. Son propos s’articule autour de la liberté absolue, de la répression sociétale et de la manipulation. Le scénario est librement inspiré par le sujet de deux contes d'E. A. Poe: "L'ensevelissement prématuré" et "Le système du docteur Goudron et du professeur Plume". Ces thèmes sont imbriqués au sein d’une même intrigue, indépendante de celle des contes. Le Marquis est l’un des protagonistes. Ce personnage est inspiré du Marquis de Sade. En apparence, la diégèse de ce film se déroule en France au début du XIXème siècle. Elle est pourtant pleine d’anachronismes et d’allusions à notre civilisation actuelle car il s’agit d’une allégorie du monde contemporain.<br /><br /><br />Son travail concerne plusieurs médias. Il est mieux connu en dehors de la République Tchèque pour ses animations, qui ont considérablement influencé d'autres artistes (dont les frères Stephen et Timothy Quay). Ses deux travaux les plus connus sont probablement Alice et Faust.<br /><span style="font-family:trebuchet ms;"><br /></span><b>pour vous donner une meilleure idée de la chose, hop hop hop <a href="http://www.youtube.com/watch?v=PmigNw4C9eI">on youtube</a><br /><br /><br /><br />RAPIDSHARE:</b><br /><a href="http://rapidshare.com/files/15926588/SIL_BY_SCOTOBUKI.part1.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 1 </span></a><br /><a href="http://rapidshare.com/files/15931935/SIL_BY_SCOTOBUKI.part2.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 2 </span></a><a href="http://rapidshare.com/files/15936231/SIL_BY_SCOTOBUKI.part3.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"> </a><br /><a href="http://rapidshare.com/files/15936231/SIL_BY_SCOTOBUKI.part3.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 3 </span></a><br /><a href="http://rapidshare.com/files/15939782/SIL_BY_SCOTOBUKI.part4.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 4 </span></a><a href="http://rapidshare.com/files/15961960/SIL_BY_SCOTOBUKI.part5.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"> </a><br /><a href="http://rapidshare.com/files/15961960/SIL_BY_SCOTOBUKI.part5.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 5 </span></a><br /><a href="http://rapidshare.com/files/15945236/SIL_BY_SCOTOBUKI.part6.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 6 </span></a><a href="http://rapidshare.com/files/15950498/SIL_BY_SCOTOBUKI.part7.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"> </a><br /><a href="http://rapidshare.com/files/15950498/SIL_BY_SCOTOBUKI.part7.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 7 </span></a><br /><a href="http://rapidshare.com/files/15920480/SIL_BY_SCOTOBUKI.part8.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 8</span></a><span style="font-family:trebuchet ms;"><br /><br /></span><b style="color: rgb(255, 0, 0);">Password:</b><span style="color: rgb(255, 0, 0);"> oldscot<br /></span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img376.imageshack.us/img376/9029/silenititle6qp.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img376.imageshack.us/img376/9029/silenititle6qp.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img304.imageshack.us/img304/4403/vlcsnap84519399eh.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img304.imageshack.us/img304/4403/vlcsnap84519399eh.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img304.imageshack.us/img304/5022/vlcsnap84515793ll.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img304.imageshack.us/img304/5022/vlcsnap84515793ll.jpg" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img304.imageshack.us/img304/868/vlcsnap84505959ai.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img304.imageshack.us/img304/868/vlcsnap84505959ai.jpg" alt="" border="0" /></a><span style="color: rgb(255, 0, 0);"><br /><span style="color: rgb(0, 0, 0);">/////</span><br /></span><h1><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://home.blarg.net/%7Edr_z/Movie/Posters/Reproductions/El_Topo_Rep.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://home.blarg.net/%7Edr_z/Movie/Posters/Reproductions/El_Topo_Rep.jpg" alt="" border="0" /></a>El Topo, de Alejandro Jodorowsky</h1><h1> (1970)</h1><span style="font-family:trebuchet ms;"><span style="font-weight: bold; color: rgb(255, 0, 0);"></span><br />Il y a des images de cinéma qui sont plus fortes et plus durables que les autres. Certaines des images d’El Topo restent de fait d’une très grande puissance, trente ans après leur mise en boîte. On peut se l’expliquer par trois de leurs caractéristiques. Premièrement, Jodorowsky pratique le « plan suffisant » : chaque plan travaille une idée, qu’elle soit visuelle, sonore ou narrative. Autrement dit, chaque plan d’El Topo est à sa manière autonome - ce n’est pas innocent : comme une case de bande-dessinée. Oui, ce qui compte, c’est moins le flux que le choc des images. Prenons trois exemples. Visuel. Trois bandits sont enveloppés de sacs blancs, placés contre un mur, exécutés. Le sang jaillit des trous percés dans les sacs blancs, les bandits s’écroulent. Sonore. Pour définir le moment où doit commencer un duel au pistolet, un ballon de baudruche est jeté à terre, et se dégonfle en sifflant. Lorsque le sifflement stoppe, les adversaires devront dégainer. Le long plan sur le ballon qui siffle incarne une pure tension. Narratif. El Topo abandonne son fils à quatre moines habillés en noir. Nous sommes en plan frontal : l’image de l’enfant tout nu contre les moines devient l’image de l’enfant habillé en petit moine, toujours contre les moines. En deux images, sembables à ce détail près, voici racontée toute l’enfance du fils d’El Topo.<br /><br />Deuxièmement, mais on est toujours dans cette esthétique du choc, Jodorowsky use à l’infini du jeu sur les contrastes : le bee-gee, très grand - joué par Jodorowsky lui-même (il concocte également les décors et les costumes), couche avec la naine, les caleçons, en soie rouge ou à cœur, contrastent avec les allures martiales des personnages, le désert - où l’on se promène en parapluie - se transforme en océan, les lapins blancs sont dévorés par les corbeaux noirs, une mare de boue se transforme en mare de sang, un tout jeune enfant, l’innocence même, achève un homme à terre - ultime cruauté, etc. La mise en scène redouble ces contrastes, par son jeu constant sur les plongées et les contreplongées, ses passages brusques des gros plans aux plans larges (soit en cut, soit par des zooms violents) et réciproquement. Qui plus est, Jodorowsky a un goût prononcé pour les montages hétérodoxes et frappants : montages attractions, montages alternés de séquences différées dans le temps, montage par recadrages avant (par exemple d’une brebis crucifiée).<br /><br />Enfin, le réalisateur développe un imaginaire absolument clos et cohérent. Les motifs géométriques, entre autre, se succèdent : triangles, cônes, polygones, dodécaèdres en allumettes. Il semble également obsédé par les éléments : sable, eau, roche des falaises et des grottes, feu (par qui l’on s’immole) vent qui ne cesse de saturer la bande-son. Par dessus tout, le corps est au centre du film, tatoué au fer rouge, fessé, castré, traversé par les balles, plongé dans le sable, ou dans une orgie au sous-sol d’un saloon, pour faire l’amour. De ce corps, toutes les difformités sont bienvenues : des mutilés (que Jodorowsky adore faire tomber sous les balles), des nains, des obèses. Quasiment tous les personnages du film sont d’ailleurs métonymiquement associés à un animal-totem, sur le modèle d’ « el topo », la taupe : cochons noirs, lapins, lion, varans, scarabées que l’on suce (manifestement c’est une drogue troglodyte assez efficace), abeilles.<br /><br />Bien sûr, le sexe et la question de la sexualité sont omniprésents : une image forte et célèbre du film montre une femme ouvrant en deux une tête de cactus, y passant le doigt, puis la langue. Les rapports sexuels dits exotiques sont donc convoqués - homosexuels, entre jeune et vieux, entre noirs et blancs, sadomasochistes. Enfin, le corps mourant est essentiel dans El Topo, où l’on meurt beaucoup, mais toujours de la même manière : brusquement, dans des flots de sang. La mort est traitée avec indifférence mais comme spectacle, et très souvent, Jodorowsky la fabrique même au montage, juxtaposant une image de la personne en vie à une image de la personne en sang, raccordées par un bruit de détonation - la scène où toute une assemblée joue à la roulette russe, et où c’est finalement un enfant qui se tue, en est exemplaire. Les morts permettent alors au réalisateur de fabriquer des visions spectrales en plan large de champs de cadavres d’humains et d’animaux mêlés. Dans une des toutes premières séquences du film, El Topo traverse un village où la population a été intégralement massacrée.<br /><br />Donc, une image forte chez Jodorowsky se caractérise par 1) son autonomie 2) ses contrastes 3) le renvoi à un imaginaire clos - élémentaire, corporel. Précisons cependant que le film fonctionne sur le principe de la succession plus que de l’enchaînement. Le héros est poussé par sa maîtresse à assassiner les quatre "maîtres", d’où le Jésus en string, d’où le Russe en fourrure, d’où l’Aborigène au filet à papillons. Puis, trahi par elle, il gagne les sphères de la sainteté, il se dévoue pour une communauté de pouilleux en butte au rejet d’un village empli de bourgeoises sadiques, décadentes (type La Goulue) et racistes. Bref, El topo va de rencontres en rencontres, ce qui le rend quelque peu répétitif. Il faut aussi mettre de côté la dimension mystique du film, un peu trop appuyée, bouddhisto-christique, mâtinée de flower power et agrémentée de séquences de transe sous percussions. Jodorowsky est paraît-il un spécialiste reconnu du tarot de Marseille : mais c’est en tant que metteur en scène qu’il s’impose dans El Topo.<br />- Romain Lecler<br /><br />en lire plus sur Jodo, lire larticle qui lui est consacré sur wikipedia, et <a href="http://fr.wikipedia.org/wiki/Alejandro_Jodorowsky">on clique ici</a><br /><br /></span><b>RAPIDSHARE:</b><br /><a href="http://rapidshare.com/files/4221727/ELT_BY_SCOTOBUKI.part1.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 1</span></a><br /><a href="http://rapidshare.com/files/4221727/ELT_BY_SCOTOBUKI.part1.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;"> </span></a><a href="http://rapidshare.com/files/4221767/ELT_BY_SCOTOBUKI.part2.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"> <span style="font-family:trebuchet ms;">Part 2 </span></a><br /><a href="http://rapidshare.com/files/4221792/ELT_BY_SCOTOBUKI.part3.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 3 </span></a><a href="http://rapidshare.com/files/4222790/ELT_BY_SCOTOBUKI.part4.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"> </a><br /><a href="http://rapidshare.com/files/4222790/ELT_BY_SCOTOBUKI.part4.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 4 </span></a><br /><a href="http://rapidshare.com/files/4222804/ELT_BY_SCOTOBUKI.part5.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part </span></a><a href="http://rapidshare.com/files/4222804/ELT_BY_SCOTOBUKI.part5.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">5 </span></a><a href="http://rapidshare.com/files/4222844/ELT_BY_SCOTOBUKI.part6.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"> </a><br /><a href="http://rapidshare.com/files/4222844/ELT_BY_SCOTOBUKI.part6.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 6</span></a><a href="http://rapidshare.com/files/4222844/ELT_BY_SCOTOBUKI.part6.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;"></span></a><br /><a href="http://rapidshare.com/files/4222904/ELT_BY_SCOTOBUKI.part7.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 7 </span></a><a href="http://rapidshare.com/files/4222856/ELT_BY_SCOTOBUKI.part8.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"> </a><br /><a href="http://rapidshare.com/files/4222856/ELT_BY_SCOTOBUKI.part8.rar" target="_blank" onclick="return top.js.OpenExtLink(window,event,this)"><span style="font-family:trebuchet ms;">Part 8</span></a><span style="font-family:trebuchet ms;"><br /><br /><span style="font-size:85%;"></span></span><b style="color: rgb(255, 0, 0);">Password:</b><span style="color: rgb(255, 0, 0);"> oldscot</span>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com3tag:blogger.com,1999:blog-5527824975843919230.post-34660121619591777212007-03-09T15:51:00.000+01:002007-06-09T13:31:54.098+01:00La Musique censée adoucir les moeurs<span style="color: rgb(0, 0, 0);font-size:100%;" >petite selection d'albums pour adoucir les moeurs ou l'inverse, selon votre état d'esprit.<br />il ya de tout et rien n'est classé<br />du postcore cotoie du psyché, du postrock du drone, de l'électro du mathrock<br />donc vous êtes forcé de trouver votre bonheur (dans le cas contraire, désolé...)<br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" ><br />NB: soit on clique sur la pochette pour accéder à l'album<br />soit comme d'habitude "----> cest ici que ça se passe <----" </span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >ISIS</span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><br />Isis est un groupe de post-hardcore basé en Californie à Los Angeles et originaire de Boston dans le Massachusetts. On leur attribue communément l'étiquette de doom metal, sludge metal, metal expérimental.<br />Isis est aujourd’hui célèbre grâce à Hydra Head Records, un label indépendant, fondé par le chanteur du groupe, Aaron Turner, en 1993.<br />Il fait partie des groupes qui ont su forger leur propre son, que l’on reconnaît rien qu’à l’écoute et qui ne se limitent pas qu’à la banale appellation de metal.<br />Le groupe produit une musique mélodique, pensante avec son lot de passages atmosphériques.<br />Ils sont notamment influencés par des groupes comme Neurosis, Melvins, Godflesh ou encore Tool.<br /><br /></span><span style="font-style: italic; color: rgb(0, 0, 0);font-size:100%;" ><span style="font-weight: bold;">Oceanic (2002)<br /><br /></span></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a href="http://d.turboupload.com/de/841796/bc2lhorsco.html" target="_blank"><img src="http://images.amazon.com/images/P/B00006IQHQ.01._AA240_SCLZZZZZZZ_.jpg" height="300" width="300" /></a><br /><br />This album truly needs no introduction past the title of the record. This album is Oceanic. If you need more of a description you should go to Pitchfork who gave it an unprecedented 9.1, but trust me, my description is all you need.<br /><br /></span><span style="font-style: italic; color: rgb(0, 0, 0);font-size:100%;" ><span style="font-weight: bold;">Celestial (2001)<br /><br /></span></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a href="http://d.turboupload.com/de/841274/ed42y1krkb.html" target="_blank"><img src="http://ec1.images-amazon.com/images/G/01/ciu/b6/0b/127e4310fca03121638b2010._AA240_.L.jpg" height="300" width="300" /></a><br /><br />I'll spare you a description saying this album is Celestial (though it is) and go one step further and say that this is the sound of all primal universal energy, expanding and contracting and finally, space folding in on itself. This is a beast of an album that defies description. If all youve heard was Panopticon or Oceanic, you are not prepared for this. While lacking some of the post rock inventiveness that Oceanic perfected, it makes up for it with tribal pulsing and crunching. An extremely visceral album.<br /></span><span style="font-style: italic; color: rgb(0, 0, 0);font-size:100%;" ><span style="font-weight: bold;"><br />Mosquito Control (1998)<br /><br /></span></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a href="http://d.turboupload.com/de/849271/li82rikvoi.html" target="_blank"><img src="http://www.nnm.ru/imagez/gallery/doci/bla/black-1147080328_i_7039.jpg" height="300" width="300" /></a><br /><br />Their first output (minus the demo that was previously released) is the most primitive of their recorded output but also, in the same nature of their first full length Celestial, it has a way of punching you in the gut and knocking you over the head. This definitely treads into the "extreme" side of their work as there is little post rock/ shoegazer tendencies and Aaron Turner bellows like he has just awoken from an eternal slumber in a volcano. The music fittingly follows suit and will certainly have you gasping for air, and of course reaching for the repeat button. Or if you are like me, you will quickly throw on Celestial and continue the journey.<br /><br /></span><span style="font-style: italic; color: rgb(0, 0, 0);font-size:100%;" ><span style="font-weight: bold;">The Red Sea (1998)</span></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /></span><h3 style="color: rgb(0, 0, 0);"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.alternatifs.fr/images_pochette/s_050610100532.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://www.alternatifs.fr/images_pochette/s_050610100532.jpg" alt="" border="0" /></a></span><span style="font-size:100%;"><a style="font-weight: bold;" href="http://d.turboupload.com/de/849144/232yzjtmi3.html">----> cest ici que ça se passe <----</a></span></h3><span style="font-style: italic; color: rgb(0, 0, 0);font-size:100%;" ><span style="font-weight: bold;"><br />Panopticon (2004)<br /><br /></span></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://images.amazon.com/images/P/B0002Z83KC.01._SCLZZZZZZZ_.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://images.amazon.com/images/P/B0002Z83KC.01._SCLZZZZZZZ_.jpg" alt="" border="0" /></a><a style="font-weight: bold;" href="http://d.turboupload.com/de/855136/g752wzzs1j.html">----> cest ici que ça se passe <----</a><br /><br /></span><span style="font-style: italic; color: rgb(0, 0, 0);font-size:100%;" ><span style="font-weight: bold;"><br /><br /></span></span><span style="color: rgb(0, 0, 0);font-size:100%;" >/////<br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >BORIS<br /><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" >Boris is a Japanese band, known to regularly switch musical genres between albums. Genres the band have played so far include drone, stoner rock, psychedelic rock, noise, ambient, sludge, post-rock, and straightforward rock music.<br /><br />* Atsuo - drums and backing vocals (formerly lead vocals)<br />* Wata - guitars, vocals (on 2006 release, Rainbow)<br />* Takeshi - bass, guitars and vocals<b><br /></b><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://upload.wikimedia.org/wikipedia/en/3/33/Boris_amp.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://upload.wikimedia.org/wikipedia/en/3/33/Boris_amp.jpg" alt="" border="0" /></a><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Amplifier Worship<br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><a style="font-weight: bold;" href="http://d.turboupload.com/de/802221/t9j4mqyuip.html">----> cest ici que ça se passe <----</a><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" ><br /><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://ec1.images-amazon.com/images/P/B000FGFY6Y.01._SS500_SCLZZZZZZZ_V51398909_.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://ec1.images-amazon.com/images/P/B000FGFY6Y.01._SS500_SCLZZZZZZZ_V51398909_.jpg" alt="" border="0" /></a><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Flood</span><span style="text-decoration: underline; color: rgb(0, 0, 0);font-size:100%;" ><span style="font-weight: bold;"><br /><br /></span></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a style="font-weight: bold;" href="http://d.turboupload.com/de/799999/56wjohsxdn.html">----> cest ici que ça se passe <----</a><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://homepage1.nifty.com/boris/release_merchandise/release/images/heavyrocks.gif"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://homepage1.nifty.com/boris/release_merchandise/release/images/heavyrocks.gif" alt="" border="0" /></a></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Heavy Rocks</span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=KG05AKYV">----> cest ici que ça se passe <----</a><br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" ><br /><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.importantrecords.com/images/content/imprec075_boris.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://www.importantrecords.com/images/content/imprec075_boris.jpg" alt="" border="0" /></a></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Vein - Version 1</span><span style="text-decoration: underline; color: rgb(0, 0, 0);font-size:100%;" ><span style="font-weight: bold;"><br /><br /></span></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a style="font-weight: bold;" href="http://www.megaupload.com/?d=UKZJXM40">----> cest ici que ça se passe <----</a><br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" ><br />Vein - Version 2</span><span style="text-decoration: underline; color: rgb(0, 0, 0);font-size:100%;" ><span style="font-weight: bold;"><br /><br /></span></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a style="font-weight: bold;" href="http://www.megaupload.com/?d=YT1BLMLV">----> cest ici que ça se passe <----</a><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=YT1BLMLV" target="_blank"><br /></a><br /><br />/////<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.originalsoundrecordings.com/images/migration.gif"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://www.originalsoundrecordings.com/images/migration.gif" alt="" border="0" /></a><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Buried at Sea - Migration<br /><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a style="font-weight: bold;" href="http://www.megaupload.com/?d=X1U5WR8N" target="_blank">----> cest ici que ça se passe <----</a><br /><br />This album will most likely be the heaviest thing released this year. Buried at Sea's doom dirge is so thick, it will leave your jaw on the floor. This album is not for the weak of heart. It is filled with pure hatred. These 3 songs move at a snail's pace and I challenge any of you Southern Lord fanatics to tell me this ain't the heaviest shit around. This band is recommended if you like: Burning Witch, Khanate, Sunn0))), Neurosis, dot(.), Pelican, and Unearthly Trance. In other words, the heaviest of the heavies. All songs 10 plus minutes in length unfold slowly to envelope your mind and body.<br /><br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" > Buried At Sea - She Lived For Others But Died For Us</span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=X1U5WR8N" target="_blank">----> cest ici que ça se passe <----</a><br /><br /><br />////<br /><br /></span><h3 style="color: rgb(0, 0, 0);" class="post-title"><span style="font-size:100%;"> Hyatari - The Light Carriers<br /></span></h3><h3 style="color: rgb(0, 0, 0);" class="post-title"><span style="font-size:100%;"><a style="font-weight: bold;" href="http://www.metaltracks.com/shopimages/codex006.jpg">----> cest ici que ça se passe <----</a><br /></span></h3><span style="color: rgb(0, 0, 0);font-size:100%;" >If Sunn O))) and Godflesh had children, not only would they be ugly deformed little bastards, but they would probably sound like Hyatari. Slow, dirge like waves of distended and distorted sound of tectonic scale lurch and grind over each other becoming at once formless yet monolithic. At times the album reminds me of the ebb and tides of the cold, cold universe in all its ugly, unpolished glory. The whole record plays as one song and flows quite nicely together. Most of the guitar tones would make any fan of Sunn O))) an instant devotee, but the clincher here is the addition of the drum machine and the use of actual riffs. This is also where the Godflesh comparisons are wrought. Akin to something like Godflesh on horse tranqulizers, this album is a sonic beast to be administered daily throughout the week.<br /><br />////<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://shop.relapse.com/dbimages/sleeves/21118_216.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://shop.relapse.com/dbimages/sleeves/21118_216.jpg" alt="" border="0" /></a><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Mouth Of The Architect - The Ties That Blind<br /><br /><a href="http://www.mediafire.com/?cywnimielye">----> cest ici que ça se passe <----</a><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br />Mouth of the Architect is an American atmospheric sludge metal band.<br /></span><ul style="color: rgb(0, 0, 0);"><li><span style="font-size:100%;">Jason Watkins – vocals, keyboards, samples</span></li><li><span style="font-size:100%;">Gregory Lahm – guitar, vocals</span></li><li><span style="font-size:100%;">Dave Mann – drums</span></li><li><span style="font-size:100%;">Dan Wilburn – guitar</span></li></ul><span style="color: rgb(0, 0, 0);font-size:100%;" ><br />////</span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" ><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.scenepointblank.com/reviews/covers/00519.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://www.scenepointblank.com/reviews/covers/00519.jpg" alt="" border="0" /></a><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Tides - Resurface<br /><br /><a href="http://www.megaupload.com/?d=OQ7P91AP">----> cest ici que ça se passe <----</a><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><br />////<br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Battles </span><span style="color: rgb(0, 0, 0);font-size:100%;" >is an American math rock band. Following a string of EPs, the band released their debut LP on the Warp Records label in February 2006. The album is a compilation of their increasingly hard-to-find early releases. The group's lineup is composed of well-known musicians, including ex-Helmet drummer John Stanier, ex-Don Caballero guitarist Ian Williams, ex-Lynx guitarist Dave Konopka, and Tyondai Braxton (son of Avantgarde Jazz musician Anthony Braxton), who also plays guitar and keyboard and creates live voice samples.<br /><br />According to a news item on Pitchfork a new album Mirrored, recorded at Machines With Magnets, will be released on 15 May 2007. This release will be preceded by the single "Atlas" from the album becoming available on 2 April 2007.<br /><br /></span><ul style="color: rgb(0, 0, 0);"><li><span style="font-size:100%;"> John Stanier – drums</span></li><li><span style="font-size:100%;">Ian Williams – guitar, keyboards</span></li><li><span style="font-size:100%;">Tyondai Braxton - guitar, keyboards, voice</span></li><li><span style="font-size:100%;"> Dave Konopka – guitar, bass</span></li></ul><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.beatink.com/br/brwp141/Battles-EPCBEP.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://www.beatink.com/br/brwp141/Battles-EPCBEP.jpg" alt="" border="0" /></a><strong style="font-weight: bold;">Battles - EP C</strong><br /><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=YWL0ULMK">----> cest ici que ça se passe <----</a><strong style="font-weight: bold;"></strong><br /><strong style="font-weight: bold;"><br /><br />Battles - B[EP]</strong></span><span style="text-decoration: underline; color: rgb(0, 0, 0);font-size:100%;" ><span style="font-weight: bold;"><br /></span></span> <span style="color: rgb(0, 0, 0);font-size:100%;" ><a style="font-weight: bold;" href="http://www.megaupload.com/?d=R14P6AXJ">----> cest ici que ça se passe <----</a><br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" class="postbody" ><br />Battles - Mirrored (2007) </span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><a style="font-weight: bold;" href="http://www.mediafire.com/?7yyjdxtmdzj">----> cest ici que ça se passe <----</a><br /><br /><br />/////<br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >OXES </span><span style="color: rgb(0, 0, 0);font-size:100%;" >(Born August 16, 1999) are a Baltimore instrumental rock band. Its members are part of what's known as "the Baltimore Rowdy Collective" who stage practical jokes usually involving a confrontational and outlandish racket in public places. These happenings are comparable to the Lettrist Scandals and Luther Blissett.<br /><br />Their music has been called math rock or post punk but they haven't been known to subscribe to any genre. However all of their recordings and shows are instrumental.<br /><br />In all of the bands early performances Marc Miller (guitar), Natalio Fowler (guitar) both stood on large black boxes (or pedestals) towering over the audiences (a nod to the superiority complexes of rock bands). The guitarists would occasionally step down from the boxes to walk into the audience and stand in front of individuals in the crowd (while still playing) attempting to make them feel uncomfortable. This was later aided by the much self-publicised acquisition of wireless guitars. Christopher Freeland (drums) would intermittenly get up from his set and barge around the stage, mumbling incoherent babble, only to sit back down and lunge into another song. The two guitarists, Marc Miller and Nat Fowler, are noted for having the birthdates of Jimi Hendrix's birth and death dates, respectively.<br /><br />While the band retained its use of the large black boxes and wireless guitars, its later shows were marked by lesser accepted ideas of showmanship. However they still maintain a certain level of audacious and silly stage presence. After their 2002 SXSW performance, Entertainment Weekly named them the "Blue Man Group of rock."<br /><br /><strong>Oxxxes</strong><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=97DGY6J7">Download</a><br /><br /><br />/////<br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Nadja </span><span style="color: rgb(0, 0, 0);font-size:100%;" >is a Toronto, Canada duo that has already established themselves through a series of CDR releases as well as their recent debut CD on Alien8 Recordings. <i>Bodycage</i> is a re-release of a limited CDR from 2005. Their sound is firmly based in ambient electronics and a masterfully programmed drum machine.<br /><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" class="postbody" ><span style="font-weight: bold;">Nadja - Bodycage<br /><a href="http://www.megaupload.com/?d=QRB30JS2">Download</a><br /><br /><br />/////<br /><br /></span><span><span style="font-weight: bold;">Om </span>is a duo formed by the rhythm section of the disbanded stoner metal band Sleep, Al Cisneros on vocals and bass and Chris Hakius on drums. Their music is similar in structure to Tibetan chanting and is rich in rhythm and melody. Their music and lyrics lift off at the beginning and slowly mutate giving a feeling of evolution inside each song.<br /><br />* Al Cisneros - Bass, Vocals<br />* Chris Hakius - Drums</span><span style="font-weight: bold;"><br /><br /></span></span><span style="color: rgb(0, 0, 0);font-size:100%;" class="postbody" ><span style="font-weight: bold;">Variations on a Theme<br /><a href="http://www.megaupload.com/?d=PU326NSA">Download</a><br /><br /><br />/////<br /><br /></span></span><span style="color: rgb(0, 0, 0);font-size:100%;" >The French noise/doom outfit </span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Monarch </span><span style="color: rgb(0, 0, 0);font-size:100%;" >present 3 new songs on this new 2xcd co released by Solitude, Throne, Chim?re and Ninja Tuning. Almost 90 minutes of crushing metal for fans of Khanate, Burning Witch and Corrupted.<br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Monarch - S/T</span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><a style="font-weight: bold;" href="http://www.sendspace.com/file/sx0sa0">Download</a><br /><br /><br />/////<br /><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" class="md" ><span style="font-weight: bold;">The Ocean</span>: Robin Staps (guitar, programming); Jonathan Heine (bass guitar).<br />The Swedish metal band the Ocean's ambitious collection of intense, monolithic music is made more user-friendly by the inclusion of a half-dozen guest vocalists, including the former Coalesce singer Sean Ingram and Converge's Nate Newton.<br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" ><a href="http://www.megaupload.com/tr/?d=M8CP7BYK">Aeolian</a></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><a style="font-weight: bold;" href="http://kostaz.ifolder.ru/872713">Fogdiver '2003 + Islands-Tides '2001</a><br /><a style="font-weight: bold;" href="http://kostaz.ifolder.ru/872658">Fluxion</a><br /><br /><br />/////<br /><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><span style="font-weight: bold;">Orthodox</span><span> is a Spannish experimental post-hardcore band</span><span style="font-weight: bold;"><br /><br /><a href="http://www.myspace.com/orthodoxband">http://www.myspace.com/orthodoxband</a><br /><br /><br />Gran poder<br /><a href="http://www.megaupload.com/es/?d=1XYP542O"> Download</a></span><br /><br /><br />/////<br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Grails </span><span style="color: rgb(0, 0, 0);font-size:100%;" >are an American instrumental rock band from Portland, Oregon. Their sound brings to mind bands like Dirty Three, Godspeed You! Black Emperor, Faust, Gong and Pink Floyd.<br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" class="postbody" >Burden of Hope </span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a style="font-weight: bold;" href="http://rapidshare.com/files/15234327/Grails_-_Burden_Of_Hope.rar"><span class="postbody">Download</span></a><br /><br /><br />/////<br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Acid Mothers Temple</span><span style="color: rgb(0, 0, 0);font-size:100%;" > is a Japanese psychedelic band founded in 1995 led by guitarist Kawabata Makot.<br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" class="normalfont" ><b><br /><a href="http://67.55.42.110/albums/Mantra%20of%20Love.zip">Download</a><br /><br /></b></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br />/////<br /><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" class="postbody" ><span style="font-weight: bold;">65 days of static</span> (also known by the abbreviations 65dos, 65days, or simply 65) are an instrumental math rock and post-rock band from Sheffield, England. Their debut album, The Fall of Math, was released to critical acclaim and they have released a second album, One Time for All Time, which has been well received.<br /><br />The band intersperses heavy, progressive, guitar-driven instrumental sections with live drums and off-beat sampled drums akin to those of Aphex Twin. Their albums, as a result, maintain a distinctively gritty, almost industrial feel.<br /><br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://cover6.cduniverse.com/MuzeAudioArt/Large/11/945111.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://cover6.cduniverse.com/MuzeAudioArt/Large/11/945111.jpg" alt="" border="0" /></a></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" class="postbody" >One Time For All Time<br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a href="http://www.sendspace.com/file/n89bj6"><span class="postbody"><span style="font-weight: bold;">Download</span></span></a><br /><br /><br />/////<br /><br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Sleep </span><span style="color: rgb(0, 0, 0);font-size:100%;" >was an influential band from San Jose, California which played a fusion of Stoner metal and Doom metal.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.earache.com/images/cd_covers/mosh079.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://www.earache.com/images/cd_covers/mosh079.jpg" alt="" border="0" /></a></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" class="postbody" >Holy Mountain<br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a href="http://www.megaupload.com/?d=3HKNMV0M"><span class="postbody"><span style="font-weight: bold;">Download</span></span></a><br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" class="postbody" >Dopesmoker<br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><a href="http://www.megaupload.com/?d=CZVZXUJV"><span class="postbody"><span style="font-weight: bold;">Download</span></span></a><br /><br /><br />/////<br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Pelican </span><span style="color: rgb(0, 0, 0);font-size:100%;" >is a four-piece instrumental band hailing from Chicago, Illinois who have since relocated to Los Angeles. The band is known for its dense combinations of different melodies and extended track lengths. Their distinctive sound draws from doom metal as well as post-rock and many other influences, making them exemplary proponents of post-metal. They are signed to Hydra Head Records, which is owned and operated by Aaron Turner of Isis. Larry Herweg, Trevor de Brauw, and Laurent Lebec also make up three-quarters of the band Tusk.<br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >City of Echoes</span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><a style="font-weight: bold;" href="http://www.filefactory.com/file/5c827b">Download</a><br /><br />/////<br /><br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >Godspeed You! Black Emperor</span><span style="color: rgb(0, 0, 0);font-size:100%;" > is a Canadian post-rock band based in Montreal, Quebec.<br /><br />Formed in 1994, the ensemble has been quite influential in its genre, with bands from as far as Hong Kong and Singapore citing them as influences in their musical work. Working on a near orchestral scale, the nine-piece group has been known to create wide dynamic ranges, unique use of instrumentation and sounds, large songs that are composed almost classically with multiple movements within themselves, and engrossing use of art and visuals in both their album packaging and live performances. They are currently on an indefinite hiatus, as members of the band are busy with many other projects.<br /><br /><a href="http://www.megaupload.com/?d=SSVYT62P" target="_blank"><img src="http://www.brainwashed.com/common/images/covers/krank027.jpg" height="300" width="300" /></a> </span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br /><br /></span><span style="font-style: italic; color: rgb(0, 0, 0);font-size:100%;" >f#a# (infinity) - 1997</span><span style="color: rgb(0, 0, 0);font-size:100%;" > (Origin of the record title - The final track [on vinyl version] is a locked groove. The album's title is technically F Sharp, A Sharp, Infinity, a reference to the keys in which each side begins and to the endless loop at the end.)<br /><br /><a href="http://www.megaupload.com/?d=DXMFNNNG" target="_blank"><img src="http://www.brainwashed.com/common/images/covers/krank034.jpg" height="300" width="300" /></a><br /><br /></span><span style="font-style: italic; color: rgb(0, 0, 0);font-size:100%;" >Slow Riot for New Zero Kanada - 1999</span><span style="color: rgb(0, 0, 0);font-size:100%;" > (Origin of record title - The front of the album contains Hebrew characters, in transliterated form, "</span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >tohu va vohu</span><span style="color: rgb(0, 0, 0);font-size:100%;" >". This phrase is used in Genesis 1:1-2, and means loosely "without form, and void." It refers to the shape of the universe before it was given form and order. The dots and dashes above the letters are called trope. They dictate the tune and intonation and are found in the Torah as well as the rest of the Hebrew bible. The back of the album contains a diagram with instructions in Italian on how to make a molotov cocktail.)<br /><br /><a href="http://www.megaupload.com/?d=ELXYC41U" target="_blank"><img src="http://www.aural-innovations.com/issues/issue14/godspeed.jpg" /></a><br /><br /></span><span style="font-style: italic; color: rgb(0, 0, 0);font-size:100%;" >Lift Your Skinny Fists Like Antennas To Heaven - 2000</span><span style="color: rgb(0, 0, 0);font-size:100%;" > (Also known as: Levez Vos Skinny Fists Comme Antennas to Heaven)<br /><br />There is nothing I can say to do justice to this incredible band. You must take the time to digest each album on its own time. Godspeed You! Black Emperor are some of the most evocative musicians in recent times. They use a combination of rock, classical and prog along with field recordings of poets and secutiry warnings and many others to create sweeping landscapes of post-apocalyptic instrumental rock. Their music is definitely some of the most relevant music to come out in our extremely messed up political times. I wish I could say or do more to describe this band, but you will have to do the legwork (earwork?) yourself on this one and have a listen. Each album is a full continuous idea, broken up into sections, or movements, as it were, like a classical music piece, which they often resemble. You will be taken up to the sky, you will be taken down into the depths, you will see what you dont want to and you will be given glimmers of hope in between. You will not be the same again. Music like this is beyond words, it enters the realm of the mystical and the spiritual.</span><span style="color: rgb(0, 0, 0);font-size:100%;" class="normalfont" ><b><br /><br /><br />////<br /><br /></b></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >V/A - </span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" >A Four Way Stop</span><span style="color: rgb(0, 0, 0);font-size:100%;" ><br />(Tintoretto, Managra, Insidious, Hero of a 100 fights)<br /></span><span style="font-weight: bold; color: rgb(0, 0, 0);font-size:100%;" ><a href="http://www.megaupload.com/es/?d=INU56FGV">Download</a></span>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com1tag:blogger.com,1999:blog-5527824975843919230.post-55624633075850378612007-03-09T10:26:00.000+01:002007-03-09T11:06:56.576+01:00Mogwai<span class="md" style="font-family:georgia;"><br />-Barry Burns (guitar, flute, keyboards)<br />-Stuart Braithwaite (guitar, keyboards, percussion)<br />-John Cummings (guitar, piano<br />-Dominic Aitchison (guitar, bass)<br />-Martin Bulloch (drums)<br />-</span><span class="md" style="font-family:georgia;">Brendan O'Hare [Young Team]<br /></span><span class="md" style="font-family:georgia;">-Barry Burns </span><span class="md" style="font-family:georgia;">[Rock Action]</span><br /><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://cover6.cduniverse.com/MuzeAudioArt/Large/01/272501.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://cover6.cduniverse.com/MuzeAudioArt/Large/01/272501.jpg" alt="" border="0" /></a><br /><span style="color: rgb(0, 102, 153);font-family:georgia;font-size:100%;" ><strong>Young Team (1997)<br /><br /></strong></span><a style="font-weight: bold; font-family: georgia;" href="http://www.megaupload.com/?d=EZ6LVO4U" target="_blank" class="postlink">----> cest ici que ça se passe <----</a><br /><br /><span class="md" style="font-family:georgia;">Additional personnel includes: Aidan Moffat (vocals); Shona Brown (flute).<br />Recorded at MCM Studios, Hamilton, Scotland in 1997.<br />Judging from this stunning album, Scotland's Mogwai are hell-bent to load up Sonic Youth and Pavement's lo-fi psych-meets-pop breakthroughs onto a silver rocket, and fly into the heart of the sun. Mogwai are all about the melodic-but-noisy instrumental. When they construct a good long one--and there are plenty on YOUNG TEAM--the rollercoaster can be as thrilling and forward-propelling as a late-era Coltrane solo. Two guitars interweave sheets of sonic sabotage, and yet instead of dark, harsh slabs, they emerge with melodies that share much with the early "pop" efforts of the afore-mentioned Stocktonites and with Syd-era Floyd. Combine these qualities with their complete grasp of Albini's law of instrumental dynamics (loud/soft/loud/soft/etc.--see "Like Herod" for prime example) and what comes out is a unique, forceful and catchy statement of purpose.</span><p style="font-family:georgia;">Melody Maker (11/1/97, p.44) - "...Mogwai fashion raw electricity into gravity-heavy melodies of impossibly sad sweetness....with massive amounts of distortion."</p><br /><span style="font-family:georgia;">/////</span><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://cover6.cduniverse.com/MuzeAudioArt/Large/69/945769.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://cover6.cduniverse.com/MuzeAudioArt/Large/69/945769.jpg" alt="" border="0" /></a><br /><p face="georgia"><span style="color: rgb(0, 102, 153);font-size:100%;" ><strong>Come On Die Young (1999)<br /></strong></span></p><a style="font-weight: bold; font-family: georgia;" href="http://www.megaupload.com/?d=5LQJXST4" target="_blank" class="postlink">----> cest ici que ça se passe <----</a><br /><span class="md" style="font-family:georgia;"><br />Additional personnel: Dave Fridmann (various instruments); Richard Formby (lap steel); Luke Sutherland (violin); Wayne Myers (trombone).<br />Recorded at Tarbox Road Studios, Cassadaga, New York and Cava, Glasgow, Scotland.<br />Mogwai are top choice, triple-grade A, USDA prime slowcore. OK, they're from Scotland, but that's beside the point. Mostly an instrumental outfit, they strum and drone their way through the 12 tracks on COME ON DIE YOUNG with a dark spirit that is beautiful, breathtaking, and mysterious. Occasionally they'll sing a few bars (the lovely "Cody") and there's restrained use of keyboards and flute throughout. They're also not above descending into a cloud of white noise, as in "Ex-Cowboy." But what makes Mogwai a cut above is their deft use of melody. Although it may not be immediately apparent, there's always a singable phrase being performed somewhere. Was Pavement's Stephen Malkmus being ironic or infatuated when he said, "Mogwai will be the best band of the 21st century"? You decide.</span><br /><br /><span style="font-family:georgia;">Spin (5/99, p.154) - 7 (out of 10) - "...COME ON DIE YOUNG is a melodic, slo-mo album of increments and repeating intervals, where changes are subtle but no less drastic. The formula: lightly strummed guitar bits, lethargic snare snaps, and anonymous ether-chatter that escalates into whirring zeniths of feedback...or cultivates a pretty narcolepsy..."</span><br /><span style="font-family:georgia;">Q (5/99, p.110) - 4 Stars (out of 5) - "...opening Punk Rock sets the tone....proceeds at a languid, near-hypnotic pace, with chiming guitars and floaty piano lines piercing through sheets of soporific sound. Bold and frequently beautiful...this is a gentle delight..."</span><br /><span style="font-family:georgia;">The Wire (5/99, p.63) - "...Though they're high on punk rock attitude, Glaswegian group Mogwai's album is a subdued affair, with moments of graceful beauty nestled inside gathering stormclouds..."</span><br /><span style="font-family:georgia;">NME (8/12/00, p.29) - Ranked #25 in The NME "Top 30 Heartbreak Albums".</span><br /><span style="font-family:georgia;">NME (4/3/99, p.41) - "...Stark and darkly atmospheric, it obliterated the traditional qiet/loud formula, replacing it with layers of white noise and intense meloncholy..."<br /><br /></span><p face="georgia">/////</p><p face="georgia"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.youmakemusic.com/images/shop/53/mogwai%20rock%20actio.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://www.youmakemusic.com/images/shop/53/mogwai%20rock%20actio.jpg" alt="" border="0" /></a></p> <span style="color: rgb(0, 102, 153);font-family:georgia;font-size:100%;" ><strong>Rock Action (2001)<br /><br /></strong></span><a style="font-weight: bold; font-family: georgia;" href="http://www.megaupload.com/?d=SHL5ZI4Z" target="_blank" class="postlink">----> cest ici que ça se passe <----</a><br /><br /><span style="font-family:georgia;">Additional personnel includes: Remote Viewer (banjo, programming); David Pajo, Gruff Rhys, Willie Campbell, Charlie Clark, Gary Lightbody (background vocals).</span><br /><p style="font-family: georgia;"><span class="md">Engineers include: Dave Fridmann, Tony Doogan, Bill Racine.<br />Principally recorded at Tarbox Road, Cassadaga, New York and Cava Studios, Glasgow, Scotland.<br />From the opening static surge of "Sine Wave" to the majestic closer "Secret Pint," ROCK ACTION is Mogwai at its best. For this 2001 album, the Scottish post-rock band reigns in much of the bombast of earlier recordings, opting for melody and texture over all else. Guitarist Stuart Braithwaite contributes more vocals than ever before, though they're often hushed or heavily treated, and Super Furry Animals frontman Gruff Rhys lends his voice to the haunting "Dial: Revenge." While the ominous, amped-up "You Don't Know Jesus" is the closest that the record comes to living up to its cheeky title, ROCK ACTION's true highlight is the gorgeously chiming nine-minute mini-epic "2 Rights Make 1 Wrong." Throughout the album, Dave Fridmann's sterling production calls attention to the dynamic arrangements, allowing fascinating sonic elements (including strings and horns) to emerge from Mogwai's three-guitar/bass/drums lineup. For most Mogwai fans, ROCK ACTION stands as one of the band's finest moments, and for newcomers, it's an excellent point of departure.</span></p><span style="font-family:georgia;">Spin (5/01, p.147) - 8 out of 10 - "...An immaculate 38-minute lullaby for the not-working class, replete with tape hiss and timpani, sweetly brooding vocals, and otherworldly 'HOBBIT'-core....Like the band itself, it keeps getting bigger and better on its own sweet time."</span><br /><span style="font-family:georgia;">Q (5/01, p.114) - 4 stars out of 5 - "...Excellent....walking the guitar-noise-symphony walk. This is their most rewarding album yet..."</span><br /><span style="font-family:georgia;">Mojo (5/01, p.102) - "...If beauty and ambition be the defining values of that album title concept, they've served up here in spades."</span><br /><span style="font-family:georgia;">Alternative Press (2/02, p.65) - Ranked #17 in AP's "25 Best Albums of 2001".</span><br /><span style="font-family:georgia;">Alternative Press (6/01, p.78) - 4 out of 5 - "...A tongue-in-cheek and often exquisite stab at excess..."</span><br /><span style="font-family:georgia;">Magnet (12-1/02, p.56) - Included in Magnet's "20 Best Albums of 2001".</span><br /><span style="font-family:georgia;">Magnet (4-5/01, pp.79,82) - "...Extraordinarily rich and emotionally riveting....the post-post-rock era's SGT. PET SOUNDS' LONELY HEARTS CLUB BAND."</span><br /><span style="font-family:georgia;">CMJ (4/30/01, p.4) - "...Mesmerising and hypnotic..."</span><br /><span style="font-family:georgia;">NME (12/29/01, p.59) - Ranked #28 in NME's 50 "Albums Of the Year 2001".</span><br /><br /><span style="font-family:georgia;">/////</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://cover6.cduniverse.com/MuzeAudioArt/Large/50/486250.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://cover6.cduniverse.com/MuzeAudioArt/Large/50/486250.jpg" alt="" border="0" /></a><br /><span style="color: rgb(0, 102, 153);font-family:georgia;font-size:100%;" ><strong>Happy Songs For Happy People (2003)<br /><br /></strong></span><a style="font-weight: bold; font-family: georgia;" href="http://www.megaupload.com/?d=Z9CQ2R90" target="_blank" class="postlink">----> cest ici que ça se passe <----</a><br /><br /><span class="md" style="font-family:georgia;">Additional personnel: Luke Sutherland (guitar, violin); Greg Lawson, (violin); Scott Dickinson (viola); David Gillian, Caroine Barber (cello).<br />Recorded at Cava Studios, Glasgow, Scotland.<br />Of all the bands emerging in the mid-'90s who were labeled "post-rock," Scotland's Mogwai always seemed to be one of the closest to (gasp) an actual rock band. While their third album ROCK ACTION showed them edging ever closer to rockdom, with more conventional song structures and vocals, the follow-up is a hearty about-face. HAPPY SONGS FOR HAPPY PEOPLE is one of the band's more atmospheric efforts. Whereas the band's early sound was often defined by angular, hypnotic guitar riffs a la Slint, HAPPY SONGS is full of dreamy, ambient electronic textures that wouldn't sound out of place on, say, a Spiritualized album. There is the occasional vocal, but voices (like everything else) are used purely as texture here. The tracks occasionally build to powerful crescendos, but for the most part, this is a mesmerizing, meditative effort suggestive of autumnal introspection and long walks through twilight forests. Is that post-rock enough for you?</span><p style="font-family: georgia;"><span class="md">The fourth album from Glasgow's kings of glowering, volatile quasi-instrumental rock is subtler than their previous work, compositionally beautiful but intense and trance-inducing at the same time. 9 tracks. Matador. 2003.</span><span class="ihead"><br /></span></p><span style="font-family:georgia;">Rolling Stone (07/24/03, p.88) - 3 stars out of 5 - "...Lovely wintry keyboard washes, guitars that slowly wax into rage, and an ambience of thick-blooded despair..."</span><br /><span style="font-family:georgia;">Mojo (7/03, p.98) - 5 stars out of 5 - "...An ultramodern rock masterpiece, low-key yet ominous, offering new yet comforting ways of singing familiar tunes....A relentlessly brilliant record, lush with insidious thrills..."</span><br /><span style="font-family:georgia;">Uncut (6/03, p.111) - 3 stars out of 5 - "...There's a gnarly tension matched only by their melodic complexity. HAPPY SONGS...refines their grandiose panoramic via electronic gurgles and glitches....Somnambulant and blissful..."</span><br /><span class="ihead" style="font-family:georgia;"> </span><br /><br /><span style="font-family:georgia;">/////</span><br /><br /><span class="md" style="font-family:georgia;"><br /></span><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://cover6.cduniverse.com/CDUCoverArt/Music/Large/7299079.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://cover6.cduniverse.com/CDUCoverArt/Music/Large/7299079.jpg" alt="" border="0" /></a><br /><span style="color: rgb(0, 102, 153);font-family:georgia;font-size:100%;" ><strong>Zidane: A 21st Century Portrait (2006)</strong></span><br /><span class="md" style="font-family:georgia;"><br /></span><a style="font-weight: bold; font-family: georgia;" href="http://www.megaupload.com/?d=UOW4BWPH" target="_blank" class="postlink">----> cest ici que ça se passe <----</a><br /><span class="md" style="font-family:georgia;"><br />Mogwai were appropriately tapped to compose the soundtrack to "Zidane", a portrait of the notorious French futball (or soccer) player by Turner Prize winning director Douglas Gordon and Philippe Parreno that wowed audiences at the 2006 Cannes Film Festival. Unlike their in-your-face studio albums, the music here is restrained and deliberate to accentuate the fascinating visuals of the film. Many had speculated that the band's participation in soundtrack work was an inevitablility, given their past ambient leanings. The only question was when....and it has come to pass.<br /></span>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com0tag:blogger.com,1999:blog-5527824975843919230.post-64833314245807462882007-03-08T21:55:00.000+01:002007-03-08T22:26:30.645+01:00Geoffrey Jones: The Rhythm of Film (1955-2004)<span class="postbody"><span style="font-weight: bold;"></span>une nouvelle fois, je nai rien trouvé en français sur ce cinéaste anglais<br />ces films sont des expérimentations au niveau du montage<br />si tu aimes Eisenstein ou Vertov (ou tout autre cinéaste soviétique), ceci est pour toi<br /><br />Snow, Rail & Locomotion<br />Sa <span style="font-style: italic;">trilogie du train</span> filmée pour la British Transport Films<br /><br /><span style="font-weight: bold;">Snow<br />1963, 8', 35mm, n&b</span><br />sur une musique composée par <a href="http://en.wikipedia.org/wiki/Johnny_Hawksworth" target="_blank" class="postlink">Johnny Hawksworth (cliques, cliques, t'aura des info)</a><br />The task of running the railways through the worst of a British winter.<br /><a href="http://www.screenonline.org.uk/film/id/1234415/index.html" target="_blank" class="postlink">pour en lire plus, et ben tu cliques ici</a><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/6d8x11" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /><img src="http://img403.imageshack.us/img403/627/01snow0003010ln9.jpg" border="0" /><br /><img src="http://img390.imageshack.us/img390/7613/01snow0003115hl4.jpg" border="0" /><br /><br /><br /><span style="font-weight: bold;">Rail<br />1967, 13', 35mm, coul, son.</span><br />sur une musique composée par <a href="http://en.wikipedia.org/wiki/Wilfred_Josephs" target="_blank" class="postlink">Wilfred Josephs (cliques, cliques, t'aura des info)</a><br />A commemoration of the steam age and celebration of the electric age.<br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/hb7tcd" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /><img src="http://img19.imageshack.us/img19/2259/02rail0003317ew9.jpg" border="0" /><br /><img src="http://img403.imageshack.us/img403/3250/02rail0083211oe5.jpg" border="0" /><br /><br /><br /><span style="font-weight: bold;">Locomotion<br />1975, 15', 35mm, coul., son.</span><br />sur une musique composée par Don Fraser<br />In Locomotion, the entire history of the British railways is illustrated through a captivating and accelerating rhythm.<br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/au4fkm" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /><img src="http://img390.imageshack.us/img390/9342/03locom0001323wm3.jpg" border="0" /><br /><img src="http://img390.imageshack.us/img390/4323/03locom0091215ml5.jpg" border="0" /><br /><br /><br /><span style="font-weight: bold;">Trinidad & Tobago<br />1964, 19', 35mm, coul., son.</span><br />In the travelogue Trinidad & Tobago, images react, combine and dance together to create a living, pulsing journey.<br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/05gmu2" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /><img src="http://img390.imageshack.us/img390/1010/04trini0000320nu2.jpg" border="0" /><br /><img src="http://img390.imageshack.us/img390/3934/04trini0034210ze1.jpg" border="0" /><br /><img src="http://img403.imageshack.us/img403/4469/04trini0125223qu0.jpg" border="0" /><br /><br /><br /><span style="font-weight: bold;">Shell Spirit<br />1963, 2', 35mm, coul., son.</span><br />Shell petrol fuels a journey by car from the city to the seaside.<br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/ccwkte" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><a href="http://www.screenonline.org.uk/film/id/1056888/index.html" target="_blank" class="postlink">pour en lire plus, et ben tu cliques ici</a><br /><br /><img src="http://img19.imageshack.us/img19/7244/05shell0000223qo4.jpg" border="0" /><br /><br /><br /><span style="font-weight: bold;">This is Shell<br />1970, 8', 35mm film, coul., son.</span><br />An impressionistic look at the world of Shell and its activities.<br /><a href="http://www.screenonline.org.uk/film/id/1056773/index.html" target="_blank" class="postlink">pour en lire plus, et ben tu cliques ici</a><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/642h5m" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /><img src="http://img403.imageshack.us/img403/895/06this0001102ww6.jpg" border="0" /><br /><br /><br /><span style="font-weight: bold;">Seasons Project<br />19--, 12', 35mm, coul., son.</span><br />The Seasons Project contains the early and skilled use of time-lapse photography in scenes of nature.<br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/95ynbo" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /><img src="http://img390.imageshack.us/img390/4568/07seaso0000619dy0.jpg" border="0" /><br /><img src="http://img19.imageshack.us/img19/5189/07seaso0050822zh5.jpg" border="0" /><br /><img src="http://img390.imageshack.us/img390/3112/07seaso0121317xi3.jpg" border="0" /><br /><br /><br /><span style="font-weight: bold;">A Chair-a-plane Kwela<br />19--, 3'', coul., son.</span><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/73wdiu" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /><img src="http://img19.imageshack.us/img19/5341/08acha0004010ox0.jpg" border="0" /><br /><br /><br /><span style="font-weight: bold;">A Chair-a-plane Flamenco<br />19--, 6'', coul., son.</span><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/lsgmy8" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /><img src="http://img403.imageshack.us/img403/6193/09acha0001602ih5.jpg" border="0" /><br /><br /><br /><br />Filmed interview with Geoffrey Jones at his home in Wales, describing his career and working processes, interspersed with film clips (31 mins)<br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/um1onr" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /><img src="http://img390.imageshack.us/img390/4022/10inter0013022qg2.jpg" border="0" /><br /><br /><br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody><tr> <td><span class="genmed"><b>Citation:</b></span></td> </tr> <tr> <td class="quote">Since the 1950s, Geoffrey R. Llewellyn Jones has been making multi-award-winning short films that look, sound and feel like nothing else. With his extraordinary marriage of images, music and rhythm, he ranks alongside such luminaries as Norman McLaren and Len Lye, and remains one of Britain's true film artists.<br /><br />Born in London in 1931, of Welsh parents, Geoffrey Jones trained at Central School of Art in interior design, graphic design and photography. Mesmerised by cinema since he was a child and later inspired by Dziga Vertov and Luciano Emmer, his first film project, a satire on the commuter society, envisaged images cut to very rhythmic music, a technique that became his hallmark. Although the film was never actually made, the drawings led to work, when he was just 24 as a one man band: 'The Experimental Film and TV Department' of advertising agency Crawford International, where early work included an acclaimed commercial for Martini. He went on to make films for global companies like Shell and BP, and innovative animated shorts.<br />[...]<br />The Rhythm of Film brings a selection of Geoffrey Jones' films together in one collection for the first time to show what makes his work so special. Most of his work was in the sometimes precarious area of industrial shorts, but his unique vision is also revealed in his more personal works such as the Seasons Project and the two Chair-a-plane films.</td> </tr></tbody></table><span class="postbody"><br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody><tr> <td><span class="genmed"><b>Citation:</b></span></td> </tr> <tr> <td class="quote">Only days before the release of this DVD, Geoffrey Jones passed away following a battle with cancer. The Rhythm of Film therefore becomes not only an insight into the work of one of British cinema’s unsung heroes, but also a fitting tribute. It may not offer a complete retrospective, yet over its 86-minute duration we are able to experience nine startling visions from a man who was clearly at the top of his game. Indeed, the term industrial filmmaker – for that is what Jones was, having worked for Shell, BP and Edgar Anstey’s British Transport Films (BTF) unit in his time – need not be seen as a derogatory one, but rather as a means of producing personal, distinctly singular works.<br /><br />Following a non-chronological approach, the BFI open the disc with Jones’ three most widely seen and widely acclaimed works: the Oscar-nominated Snow (1963), Rail (1966) and Locomotion (1975), all made for the BTF. Watching this trio of brisk works (their durations range from eight to fifteen minutes), Jones’ modus operandi becomes apparent: these are not ordinary, run-of-the-mill documentaries, but meditations; there is no voice-over and only minimal context (Locomotion opens with a brief note to proclaim the 150th anniversary of the Stockton-Darlington railway), the only accompaniment being strictly musical, but deeply rhythmic at that; plus there is Jones’ credit of “director editor” as opposed to “director and editor”, as though Jones is telling us that both are of equal importance.</td></tr></tbody></table>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com1tag:blogger.com,1999:blog-5527824975843919230.post-51267826105825045622007-02-13T11:39:00.000+01:002007-02-21T18:22:36.075+01:00Nobuhiko Obayashi - Experimental Film Collection (1960-1968)<span class="postbody">je nai rien trouvé en français sur ce cinéaste japonais inconnu en occident et pourtant quelquun dimportant au japon<br /><span style="font-weight: bold;">à découvrir absolument !!</span><br />ces films nont pas de sous-titres,<br />mais <span style="font-style: italic;">le language</span> de Nobuhiko Obayashi étant principalement visuel, ce nest asp un problème<br /><br /><span style="font-style: italic;">It's a little known fact that long before Nobuhiko Obayashi directed House, he was one of the pioneers of the emerging experimental film scene in Japan in the late 50's and early 60's, along with filmmakers like Yoichi Takabayashi, Donald Richie (who of course is better known as an author and film historian than a filmmaker), and Masao Adachi (who wrote the screenplays for Koji Wakamatsu's most politically radical films, joined the Japanese Red Army, and lived in the Middle East until he was extradited to Japan to serve some jail time). Obayashi was a student in his early 20's when the earliest of these films were made. They were personal 8mm films but the Art Theater Guild provided a venue for them to be seen by the public, which led to the opportunity to make longer and more elaborate 16mm productions. At the time, Obayashi was making a living by directing television commercials and using them as opportunities for experimentation--his quick editing style and penchant for playful visual flair were very influential in the CM production industry. Production on his personal experimental films took place at the same time as CM production, often using the same actors and even incorporating the commercials themselves into the experimental films. Some of the resulting films blur the line between arthouse drama, silent comedy, low-budget horror, documentary, pop-art experimentation, and personal home video.<br /><br />I can't think of another filmmaker who bridges the gap between experimental film and mainstream appeal as well as Obayashi. Nowadays, past the era of music videos, it's not uncommon for a director with a background in experimental films/commercials/music videos to make the leap into pseudo-mainstream feature films. But Obayashi was doing it long before guys like Spike Jonze, Michel Gondry, Gen Sekiguchi, and Wisit Sasanatieng made it popular. When Obayashi made House, his first studio feature in 1977, he used it as sort of a showcase for all the experimental techniques he had developed over the years. The result was unprecedented--nobody had made a big studio feature anything like it before (Seijun Suzuki probably came closest), but the important point is that despite all its weirdness, House was a big commercial success, as were many of Obayashi's later films.</span><br /><br /><span style="font-weight: bold;">Dandanko<br />1960, 11'', 8mm, n&b</span><br />A woman and boy play games on an ominous staircase.<br /><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/r68twb" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /></span><span><br /><img src="http://img75.imageshack.us/img75/8444/dandankoow4.jpg" border="0" /></span><br /><span class="postbody"><br /><span style="font-weight: bold;">Katami (Remembrance)<br />1963, 17', 8mm, coul</span><br />A woman and boy visit an ominous graveyard.<br /><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/yimj18" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /></span><span><br /><br /><img src="http://img234.imageshack.us/img234/3457/remembrancejo8.jpg" border="0" /></span><br /><span class="postbody"><span style="font-weight: bold;"><br /><br />Onomichi<br />1963, 20'', 8mm, coul</span><br />A non-narrative tribute to the seaside town of Onomichi, where Obayashi grew up and where most of these films were made.<br /><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/i4xuse" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /></span><span class="postbody"><img src="http://img57.imageshack.us/img57/4209/onomichijq6.jpg" border="0" /></span><br /><span class="postbody"><br /><br /><span style="font-weight: bold;">Mokuyoubi (Thursday)<br />1961, 19'', 8mm, n&b</span><br />A young couple go on a picnic in the forest, where the woman reveals that she is pregnant.<br /><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/9q46c8" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /></span><span class="postbody"><br /><img src="http://img66.imageshack.us/img66/9717/thursdayqf0.jpg" border="0" /></span><br /><span class="postbody"><br /><span style="font-weight: bold;">Nakasendo<br />1963, 17'', 8mm, coul</span><br />An experimental film edited from footage of the Japanese countryside.<br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/stg2x8" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /></span><span class="postbody"><br /><img src="http://img57.imageshack.us/img57/9505/nakasendoez5.jpg" border="0" /></span><br /><span class="postbody"><br /><br /><span style="font-weight: bold;">Tabeta Hito (The Person who is Eaten)<br />1963, 24'', 16mm, coul.</span><br />A waitress at a busy restauraunt dreams that she is trapped on an operating table, and the food inside her body is being served to the guests.<br />Ce film remporta en 1963 le Grand Prix du Jury au Festival International du Film Experimental de Belgique.<br /><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/2qjjic" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /></span><span class="postbody"><br /><img src="http://img162.imageshack.us/img162/8935/tabetabe2.jpg" border="0" /></span><br /><span class="postbody"><br /><br /><span style="font-weight: bold;">Complexe<br />1964, 14'', 16mm, coul.</span><br />An experimental arthouse short that manages to be thoroughly entertaining while simultaneously poking fun at the pretentiousness of the stereotypical experimental arthouse short.<br /><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/6eoqhg" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /></span><span class="postbody"><br /><img src="http://img131.imageshack.us/img131/7444/complexeib9.jpg" border="0" /></span>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com4tag:blogger.com,1999:blog-5527824975843919230.post-63159182849537507052007-02-13T11:30:00.000+01:002007-02-21T16:06:42.335+01:00Episode Two<span class="postbody"><span style="font-weight: bold;">Tuning the Sleeping Machine,de Jack Smith<br />1996, 16mm, 13 mins.</span><br /><br /><span style="font-weight: bold;"><a href="http://files-upload.com/files/44401/TuningthesleepingmachineDavidSherman1996.avi.html" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><span style="font-style: italic;">note: cest le dernier fichier uploadé sur files-upload, ce sera peutêtre un peu lent à dl, mais il vaut vraiment le coup</span><br /><br />Né en 1932 aux États-Unis à Colombus dans l'état de l'Ohio. Mort du sida en 1989 à Manhattan.<br />Cinéaste et acteur américain de l'underground. Son œuvre influença Andy Warhol et les cinéastes d'avant-garde qui suivirent.<br /><br />In Tuning the Sleeping Machine, David Sherman uses images and figures from classic horror films to examine early cinema's fascination with the subconscious.<br /><br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote">TUNING THE SLEEPING MACHINE maintains a dreamy oscillation between visual abstraction and a disjointedly submerged narrative of sexual menace. … [It] recalls our shared experience of late-night television in which lambent images emerge from the screen and turn strange as they percolate through our half-conscious thoughts and reveries.” - Paul Arthur, Film Comment<br /><br />“Fragments of unidentified and yet strangely familiar films, pregnant with allusion and implication, drift into one another, obscured by the haze of rephotography, electricity and the residue of (al)chemical formulae, renamed time and memory. TUNING THE SLEEPING MACHINE resurrects the cinema projected on the unconscious, a series of images defined by the gaze of an eye, the presence in an empty room, the creeping darkness that shrouds a strange face. In this conflation of image and subject, the timeless dream of cinema finds its dreamer, and so do we.” —Brian Frye </td> </tr></tbody></table><span class="postbody"><br /><br />pour en savoir plus sur Jack Smith, on suit les liens suivants<br /><a href="http://www.brightlightsfilm.com/29/jacksmith.html" target="_blank" class="postlink">(on clique ici, article du Bright Lights Film Journal)</a><br /><a href="http://www.hi-beam.net/mkr/js/js-bio.html" target="_blank" class="postlink">(ou encore ici, cest tout aussi intéressant)</a><br /><br /></span><span class="postbody"><br /><br /><img src="http://img136.imageshack.us/img136/3330/bscap0001jb3.jpg" border="0" /><br /><img src="http://img244.imageshack.us/img244/8309/bscap0002ny1.jpg" border="0" /><br /><img src="http://img136.imageshack.us/img136/1175/bscap0003fw4.jpg" border="0" /><br /><br />/////<br /> </span><span class="postbody"><br /><br /><br /><span style="font-weight: bold;">Tango, de Zbigniew Rybczynski<br />1980, 8', coul., son.<br /><br /><a href="http://www.sendspace.com/file/3fwuvq" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br />Plan fixe : une pièce avec une fenêtre et deux portes. A l'exterieur, une cour ou un jardin. Un personnage apparait et vaque a une tache quotidienne. Puis deux. Puis trois etc ... jusqu'à ce que l'endroit tout entier soit occupé de gens qui répètent constamment le même mouvement sans voir les autres. Ils entrent, font un geste, ressortent puis recommencent ..... Lorsque la pièce est bondée, ils disparaissent progressivement et finissent par la laisser vide.<br />Chef d'oeuvre du court-métrage d'animation, un ballet opprimant au pouvoir quasi-hypnotique.....<br />Oscar du film d'animation 1983<br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote"><br />Zbigniew Rybczynski, dit Zbig, le roi de l'incrustation. Après avoir étudié la peinture et la photo aux Beaux-arts de Varsovie, il sort diplômé de l'Académie de cinéma de Lodz en 1973. Il fuit son pays la Pologne en 1981 après l'instauration de la loi martiale pour l'Autriche avant de se fixer à New York après avoir obtenu à Hollywood un prix pour son court métrage "Tango". Son goût pour l'innovation tant artistique que technique, son style "Débridé et percutant" vont lui assurer une réussite foudroyante : En 1985 il réalise plus de 30 clips. Son tour de force est non seulement de réconcilier technologie et art mais aussi art publicitaire et véritable création artistique, art savant et art populaire.<br />Dans Tango, une simple chambre devient le lieu où se rejoignent, ou plutôt se croisent, une nombre si considérable d'individus que nous sommes contraints de douter de nos certitudes perceptives. D'autant plus que dans cet espace clos, chaque individu, dans une sorte de métaphore de la communication actuelle dans nos sociétés contemporaines, se livre à une action particulière dans l'ignorance totale des autres comparses : l'unité (de temps et d'espace) est ici un leurre.</td> </tr></tbody></table><span class="postbody"><br /><br /><img src="http://www.laxinaart.org/citta03/progs/p2/2_14.jpg" border="0" /><br /><br />/////<br /><br /><br /><span style="font-weight: bold;">Daybreak Express, de D. A. Pennebaker<br />1953-58, 5 min., color. </span><br />Mus: Duke Ellington<br /><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/vl5gjx" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote">I wanted to make a film about this filthy, noisy train and it’s packed-in passengers that would look beautiful, like the New York City paintings of John Sloan, and I wanted it to go with one of my Duke Ellington records, “Daybreak Express.”<br /><br />I didn’t know much about film editing, or in fact about shooting, so I bought a couple of rolls of Kodachrome at the drugstore, and figured that since the record was about three minutes long, by shooting carefully I could fit the whole thing onto one roll of film. Of course that didn’t work since I couldn’t start and stop my hand-wound camera that easily so I ended up shooting both rolls and even a few more before I was through. It took about three days to film, and then sat in a closet for several years until I figured out how to edit it and make a print that I could show on a projector.<br /><br />I took it to the Paris theater to see if they would run it. By pure chance it ended up with the Alec Guiness comedy, THE HORSE’S MOUTH which ran there for nearly a year. Since I had a large collection of jazz records, I figured I’d found a way to break into the film business with music films, and it did get me started, but I was never able to make another film like Daybreak. - D A Pennebaker</td> </tr></tbody></table><span class="postbody"><br /><br /><br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote">Don Alan Pennebaker suit des études d'ingénieur en électronique à l'Université de Yale. Les compétences techniques qu'il y acquiert lui sont précieuses lorsqu'en 1960, il met au point avec Richard Leacock, un ancien collaborateur du pionnier du documentaire Robert Flaherty, la première caméra 16mm portable avec son synchrone.<br /><br />Cette innovation technique ouvre la voie à une nouvelle forme de documentaire, qu'on baptise alors le cinéma direct. Il s'agit pour le cinéaste d'enregistrer le réel à l'état brut, en intervenant le moins possible sur l'objet filmé. Au sein de la Drew Associates, groupe de réalisateurs emmenés par Robert Drew qui vise à rapprocher le cinéma du journalisme, il participe en 1960 au tournage de Primary, un film sur la campagne électorale de John Fitzgerald Kennedy, qui inaugure une série de reportages dont le style " pris sur le vif " fait sensation.<br /><br />Dès son premier court-métrage, Daybreak express en 1953, dans lequel on entend un morceau de Duke Ellington, Pennebaker manifeste sa passion pour la musique, née durant son enfance passée à Chicago. Et c'est en 1964 que le cinéaste, déjà très remarqué, est sollicité par le manager de Bob Dylan pour filmer l'artiste lors de sa tournée anglaise de 1965. Le film qui en résulte, le mythique Dont Look Back, dans lequel le songwriter est filmé sur scène et en coulisses, est une date dans le documentaire musical, et un succès commercial peu commun pour ce type de film.<br /><br />Il renouvelle deux ans plus tard l'expérience avec Monterey Pop, du nom d'un Festival qui réunit notamment Janis Joplin et Jimi Hendrix, et en 1972 avec Ziggy Stardust & The Spiders From Mars, concert donné par David Bowie à partir de son fameux album-concept. De Jerry Lee Lewis à Depeche mode en passant par les stars de la soul music (Only the strong survive en 2003), la musique reste le champ d'investigation privilégié de Pennebaker, dont les oeuvres sont des références en la matière.<br /><br />Avec une soixantaine de films à son actif, courts ou longs métrages, pour le cinéma ou la télévision, Pennebaker, qui depuis 1977 cosigne la plupart de ses films avec son épouse Chris Hegedus, s'est par ailleurs intéressé au cours de sa carrière à des sujets aussi variés que l'entrepreneur automobile John Delorean, les débats au Congrès à propos de la politique énergétique du Président Carter ou encore Rockaby, une pièce de Samuel Beckett. En 1994, The War room, son film sur la première campagne présidentielle de Bill Clinton, est nominé aux Oscars. </td> </tr></tbody></table><span class="postbody"><br /><br /></span><span class="postbody"><br /><img src="http://img176.imageshack.us/img176/5521/cec9b36a1e810cb545392cehj5.jpg" border="0" /><br /><img src="http://img176.imageshack.us/img176/5074/e1dbe21b396ac847a33283fvn7.jpg" border="0" /> </span><br /><span class="postbody"><br />pour lire un article très intéressant sur Daybreak Express par le très bon webzine Senses of Cinema,<br /><a href="http://www.sensesofcinema.com/contents/cteq/05/36/daybreak_express.html" target="_blank" class="postlink">(il suffit de suivre ce lien)</a><br /><br /><br />/////<br /><br /><br /><span style="font-weight: bold;">Yantra, de James Whitney<br />1950-57, 7’, 16mm, coul., son.</span><br /><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/dji1x1" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote"><br />Between 1950 and 1955, James laboured to construct a truly astounding masterpiece, Yantra. The film was produced entirely by hand. By punching grid patterns in 5" by 7" cards with a pin, James was able to paint through these pinholes onto other 5" x 7" cards, to create images of rich complexity and give the finished work a very dynamic and flowing motion.<br /><br />A version of Yantra was shown at the historic Vortex Concerts in San Francisco's Morrison planetarium in 1957. Here it acquired its soundtrack, Henk Badings’ "Cain and Abel".</td> </tr></tbody></table><span class="postbody"><br /><br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote">James Whitney (USA 1921-1982) — qu’il ne faut pas confondre avec son frère John (1917-1995) également cinéaste expérimental — étudie les arts plastiques en Angleterre puis revient à Los Angeles au début de la Seconde Guerre Mondiale. Tous deux passionnés par le rapport de l’image au son (John avait travaillé avec Arnold Schoenberg à Vienne aux côtés de René Leibowitz) mais estimant que les tentatives allemandes de Walter Ruttman (Symphonie d’une grande ville), Hans Richter (Opus), Oskar Fishinger (Studies) et consorts ont échoué, son frère et lui tournent ensemble les célèbres Abstract Film Exercice N°1 à 5 (1942-1944) qui obtiennent le Premier Prix en 1949 au Festival International du Film de Bruxelles. James avait déjà réalisé seul Variations (1940) qui, comme son nom l’indique, est une tentative de développement filmique reposant sur le modèle musical. Outre Lapis, il a aussi réalisé Yantra (1950-1957) dont le titre signifie en sanskrit " outil " ou " machine " et il a commencé à filmer une série sur les quatre éléments — philosophiquement thématisés par les Présocratiques puis Bachelardiens mais titrés de noms qui s’inscrivent volontairement en dehors de la tradition européenne car tournés vers l’Orient : Dwija (le feu), Wu Ming (l’eau), Li (la terre - inachevé) que devait conclure Kang Jing Wiang (l’air) — non réalisé. Précurseurs de l’art vidéo, les films des deux frères Whitney produisirent en leur temps l’effet d’une science-fiction métaphysique dédiée à la synesthésie la plus originale.</td> </tr></tbody></table><span class="postbody"><br /></span><span class="postbody"><br /><img src="http://img359.imageshack.us/img359/5481/yantra1jm3.jpg" border="0" /><br /><img src="http://img502.imageshack.us/img502/3330/yantra3pi9.jpg" border="0" /><br /><img src="http://img365.imageshack.us/img365/5155/yantra4uo9.jpg" border="0" /><br /><img src="http://img365.imageshack.us/img365/6121/yantra2vf5.jpg" border="0" /><br /> </span><br /><span class="postbody"><br />pour en connaitre plus sur les frères Whitney,<br /><a href="http://www.olats.org/pionniers/pp/whitney/whitney.php" target="_blank" class="postlink">(on clique sur ce lien)</a><br /><br /><br />/////<br /><br /><br /><span style="font-weight: bold;">Living, de Frans Zwartjes<br />1971, 15', 16mm, coul., son.</span><br /><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/fyzka3" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote"><br />Zwartjes' masterwork and his most favorite film. "Living has an uneasy, indefinable atmosphere. This strange swaying of the camera and the music that keeps going on and on…" Living demonstrates the cinematographic mastery of Zwartjes. He is the main character of the film and handles the camera himself, pointing it towards himself with his hand held out. Zwartjes: "I was as strong as a bear in these times." The film is part of the series 'Home sweet home', in which Zwartjes explores the house in The Hague he had just moved into at the time. His wife and muse Trix plays the other role. The two characters move restlessly through the house. The film was made using an extreme wide angle lens (a 5.7), which gives the image a strong sense of estrangement. </td> </tr></tbody></table><span class="postbody"><br /><br /><br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote">Frans Zwartjes (1927) is filmmaker, musician, violinmaker, drawer, painter and sculptor. He has been heavily involved in film since 1968, both as a filmmaker and as a teacher at the ‘Vrije Academie’ in The Hague and at the Rietveld Academy in Amsterdam.<br />Of the three ‘Dutch masters’, Zwartjes approaches the regular feature film the closest in his works. In his films, actors are adorned with make-up and costumes and are put in a setting to enact a staged event. Sexuality, psychosis, cruelty, power and powerlessness are ever recurring themes in his films. The images are abstracted in ruthless black and white. The general idea of reality is broken down by brilliant camera work and neurotic editing to replace it with a personal and often disturbing reality.</td> </tr></tbody></table><span class="postbody"><br /></span><span class="postbody"><br /><br /><img src="http://img384.imageshack.us/img384/8457/untitled2dm7.png" border="0" /><br /><img src="http://img281.imageshack.us/img281/3696/untitled1nx5.png" border="0" /><br /><img src="http://img384.imageshack.us/img384/5264/untitled3py1.png" border="0" /></span><br /><span class="postbody"><br /><br />/////<br /><br /><br /></span><span class="postbody"><span style="font-weight: bold;">Det Perfekt Menneske (L'Homme Parfait), de Jørgen Leth<br />1967, 13', 35mm, b/w, son.</span><br />avec : Maiken Algren, Claus Nissen<br />Photo : Ole John, Henning Camre<br />Musique : Henning Christiansen<br />Production : Kortfilmrådet<br /><span style="font-weight: bold;"><a href="http://www.partage-facile.com/42475-The_Perfect_Human.avi.html" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br />Lars von Trier considère Det Perfekt Menneske comme l’un de ses films cultes et qu'il défia son réalisateur, Jørgen Leth, de tourner cinq remakes de ce court-métrage. Ce qui donna lieu à Five Obstructions (2003).<br />Pour chaque projet, il va lui imposer de nouvelles « obstructions » le forçant à repenser l’histoire et les personnages de son film original. Leth devra gérer restrictions, ordres et autres interdictions.<br /></span><span class="postbody"><br /><img src="http://img526.imageshack.us/img526/6256/bscap0569hg.jpg" border="0" /><br /><img src="http://img489.imageshack.us/img489/3619/bscap0572jt.jpg" border="0" /><br /><img src="http://img489.imageshack.us/img489/4808/bscap0586ng.jpg" border="0" /><br /><img src="http://img489.imageshack.us/img489/3993/bscap0594so.jpg" border="0" /></span><br /><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote"><br />THE PERFECT HUMAN est le premier film professionnel que j’ai réalisé. Il représente aussi le début d’une longue collaboration avec le cinéaste Henning Camre. L’idée trouve son origine dans la fascination que j’ai pour le monde des films publicitaires. Je sentais que tous les éléments – personnages, objets et actions - seraient extrêmement distincts s’ils étaient isolés de leur environnement. Je voulais les sortir de tout cadre, de tout le désordre réaliste dans lequel, habituellement, évoluent les personnages.<br />Isoler ainsi que cultiver l’aspect sensuel des choses et des actions était pour moi le motif principal de ma poésie. De plus, j’aimais l’idée de pouvoir jouer avec la pensée qu’un être tend à la perfection. C’était aussi un jeu par rapport à l’univers des films publicitaires. Vous savez, l’homme doit apprendre comment vivre, comment exécuter d’une façon parfaite les petits rituels de la vie de chaque jour pour ainsi devenir absolument parfait. C’est l’idée qui était derrière le film. Il était intéressant de créer des effets surréalistes en travaillant sur de tels éléments.<br />Je pensais à l’époque qu’il était tout simplement plus amusant de regarder des films publicitaires que des « vrais » films. Il y avait une telle vitalité et énergie, tant de matière pour une réflexion, tant de style et d’esthétique. En bref, tant d’inspiration. Ainsi, vous pouvez considérer que mon film était, dans un sens, un hommage au film publicitaire, genre habituellement méprisé par les intellectuels européens. Toutefois, je comptais utiliser les techniques du genre pour réaliser une vision toute personnelle ; et ce qui m’intéressait plus particulièrement était de créer des images poétiques à partir de critères esthétiques utilisés par la publicité. Je savais qu’en cultivant une surface brillante avec assez d’intensité, nous allions voir les fissures. C’était exactement où je trouverais le<br />contrepoint. Si ces fissures n’étaient pas là, alors ce film aurait été tout juste un film poli mais inintéressant, qui ne faisait que passer sur la surface des choses. Ce qui m’intéressait réellement était le jeu entre la surface brillante et les fissures révélées dans le procédé.</td> </tr></tbody></table><span class="postbody"></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote"><br /><br />Ce que je préfère dans un film, c’est de sentir le temps couler à travers une scène. Il devrait toujours y avoir de la place pour le temps. Un film doit respirer naturellement. Quand on sort, on tend un piège à la réalité, de manière à la persuader de se conformer à cet état d’esprit qu’on lui a préparé. On est détendu, attentif, non-engagé. Les choses se passent lorsqu’elles se passent. Nous sommes exactement aussi malins et aussi stupides que des poissons. On peut sortir quand on veut, dans n’importe quelle direction, et parfois on tombe sur un moment magique. C’est ce qu’on recherche, mais il ne faut pas être trop gourmand, ou trop sûr de soi.<br />L’expérience nous dit qu’ils existent, ces moments. Dans notre travail, on est armé de son instinct, de ses yeux et de ses oreilles. On se concentre autant sur l’espace vide que sur l’espace occupé. On observe le silence, et le bruit. On se fie aux cadeaux illimités du hasard, pourtant le lieu où on se trouve n’est pas nécessairement le fruit du hasard. Le moment surgit brusquement, où on n’est plus étonné par son apparition. Nous y voici. On est prêt à le capturer, à l’accepter. On ne sait pas où il nous mènera. On suit le courant, on regarde où il veut aller et ce qu’il veut faire de nous. On l’observe alors qu’il prend forme et s’assemble, mais il faut le capter tant qu’il coule encore, avant qu’il soit trop défini. On est amoureux. Un sentiment nous a frappés, que l’on essaye de percevoir durant son superficiel passage, mais que l’on a peur de perdre en le comprenant trop bien.<br />Jørgen Leth — Paris, 11 avril 2000</td></tr></tbody></table><br />/////<br /><br /><br /><span class="postbody"><span style="font-weight: bold;">Colloque de chiens, de Raoul Ruiz<br />1977, 22', coul., son.</span><br /><span style="font-weight: bold;"><a href="http://www.imdb.com/title/tt0075863/" target="_blank" class="postlink">----> imdb <----</a></span><br /><br /><span style="font-style: italic;">Des chiens racontent une histoire mélodramatique entre adoptifs et assassins. Le texte est un pastiche de la presse sensationnaliste en France. L’image reprend la technique narrative des photos-romans de la presse du cœur.</span><br />César du meilleur court métrage 79<br /><br /><span style="font-weight: bold;"><a href="http://www.sendspace.com/file/4qfhr0" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote">Dogs’ Dialogue alternates three kinds of material: footage of barking dogs, shots of streets and other locations, and a story, illustrated chiefly by a series of stills (and occasionally by shots in motion) and narrated off-screen.<br /><br />In this hilarious film, the repetitions of certain cliché phrases in the off-screen commentary (e.g. in hospital and prison alike, ‘A moment later, as she/he arranges a bed, the young woman’s/man’s hands stray under a sheet ... Their union is swift’) lend an additional circularity to Ruiz’s reductio ad absurdum, run-on melodramatic plot. The principle of overload then infects the stills which illustrate the ‘climactic’ episode, the killing of Odile: alternate shots show her assailant grasping either a knife or a bottle, as if to overdetermine further an already ludicrously overdetermined chronicle of woe.<br /><br />While the barking dogs and location shots are clearly less integrated, they are useful for precisely that reason: as breathing spaces in the cancerous narrative proliferation, hence as moments of relative sanity and repose.<br /><br />Virtually all Ruiz’s films have certain academic aspects – effects that seem studied rather than stumbled upon. The most studied element here is the deliberate naivety of the narrative voice (ably conveyed by Michael Graham’s dry, deadpan delivery in English, substituting for Robert Darmel in the French version), a parodic exposition of the rhetoric of melodrama which accommodates all possible forms of crisis within its measured, monotonous cadences – an anonymous register of outrages that seems to take excess as a matter of course.<br /><br />In contrast to this consistency is the more lackadaisical progress of the plot itself, which blithely leaps from Monique as schoolgirl to Monique as young woman without even a hint of ellipsis, calmly glides past the almost total lack of motivation for Henri’s murder of Alice, and no less casually heaps one improbable repetition on another to impose the desired circularity on the tortured careers of Monique and Henri.<br /><br />The net result of these combined strategies is to reveal melodrama itself as a pure formal mechanism, with characters and plot reduced to the status of necessary props. The disturbing lack of individuality and identity which derives from these attitudes, turning all the characters into mere aspects of a playful, arbitrary schema, seems merely the logical outcome of Ruiz’s scepticism about the homogeneity of his own authorship. With characters and auteur all assigned such a mockingly nihilist function, the dialogue that ensues might well signify no more than the barking of dogs. - Jonathan Rosenbuam, Chicago Reader</td> </tr></tbody></table><span class="postbody"><br /><br />tout aussi intéressant, une analyse sur <span style="font-weight: bold;"><a href="http://www.lecinemaderaoulruiz.com/pages/accueil.php?pagefilm=fichetechnique.php&titre_film=Colloque%20de%20chiens" target="_blank" class="postlink">La multiplication des instances narratives dans Colloque de Chiens</a></span><br /><br /></span><span class="postbody"><br /><img src="http://img378.imageshack.us/img378/1088/cdc34ct.jpg" border="0" /><br /><img src="http://img378.imageshack.us/img378/1199/cdc24ay.jpg" border="0" /></span>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com3tag:blogger.com,1999:blog-5527824975843919230.post-57616293698815365452007-02-13T11:26:00.000+01:002007-04-30T12:59:09.425+01:00Jean Painlevé, Cinéaste Scientifique Avant-gardiste<span class="postbody">on se lance dans quelque chose de complétement différent<br />des films documentaires, certes<br />mais de lépoque<br />les images sont vraiment vraiment vraiment renversantes<br /><br /><br /><span style="font-weight: bold;">Jean Painlevé<br />Compilation No 1 (1929-1978)</span><br /><br /><br /><br /><span style="font-weight: bold;">Les amours de la pieuvre,<br />1965, 13'', coul.<br />Musique : Pierre Henry<br /><br /><a href="http://files-upload.com/176104/JeanPainlev-Lesamoursdelapieuvre1965.avi.html" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br />Déplacement, respiration, nutrition de la pieuvre qui se niche dans le creux des rochers. Accouplement et ponte.<br /><br /></span><span class="postbody"><br /><img src="http://img6.picsplace.to/img6/23/Les_amours_de_la_pieuvre.avi_000702160.jpg" border="0" /></span><br /><span class="postbody"><br /><br /><span style="font-weight: bold;">Oursins<br />1954, 10'', coul.<br />Musique : Bruits organisés en hommage à Varèse<br /><br /><a href="http://www.sendspace.com/file/qat6me" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br />Biologie et comportement de l'oursin. Documentaire réalisé en macro-cinéma et en accéléré avec de nombreux gros plans révélant des détails anatomiques.<br /><br /><br /><span style="font-weight: bold;">Comment naissent les méduses<br />1960, 14'', n&b<br />Musique : Pierre Conte<br /><br /><a href="http://files-upload.com/176057/JeanPainlev-Commentnaissentdesmduses1960.avi.html" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br />Nutrition et reproduction chez différentes espèces de méduses.<br /><br /><br /><span style="font-weight: bold;">L'Hippocampe<br />1934, 14''<br />Musique : Darius Milhaud<br /><br /><a href="http://www.megaupload.com/?d=MRG1PJTW" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br />Locomotion de l'hippocampe, seul poisson vertical. Présentation de son mode de reproduction étonnant puisque c'est le mâle qui accouche, après que la femelle a déposé ses œufs dans sa poche ventrale. Développement des embryons.<br /><span style="font-style: italic;">Note: dans ce court est inclu en 2ème piste audio un morceau de Yo La Tengo (tiré de "the sounds of the sounds on science" )</span><br /><br /></span><span class="postbody"><br /><img src="http://img6.picsplace.to/img6/23/L__hippocampe.avi_000182560.jpg" border="0" /></span><br /><span class="postbody"><br /><br /><span style="font-weight: bold;">Hyas et Sténorinques<br />1929, 10'', n&b<br />Musique : Chopin<br /><br /><a href="http://files-upload.com/176166/JeanPainlev-Hyasetstenorinques1929.avi.html" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br />Présentation de ces petits crustacés dont la particularité est de se couvrir, selon leur gré, de colonies végétales ou animales. Convivialité avec leur voisin, le ver spirographe.<br /><br /><span style="font-weight: bold;">Acéra ou le bal des sorcières<br />1972, 12'', coul.<br />Musique : Pierre Jansen<br /><br /><a href="http://files-upload.com/174053/JeanPainlev-Aceraoulebaldessorcires1972..avi.html" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br />Mollusque bisexué qui nage et danse à l'aide d'un repli formant un manteau autour du corps. Ponte et développement des larves jusqu'à l'état adulte.<br /><br /></span><span class="postbody"><br /><img src="http://img6.picsplace.to/img6/23/Acera_ou_le_bal_des_sorci_res.avi_000062480.jpg" border="0" /></span><br /><span class="postbody"><br /><br /><span style="font-weight: bold;">Histoires de crevettes<br />1963, 10''<br />Musique : Pierre Conte<br /><br /><a href="http://files-upload.com/174087/JeanPainlev-Histoiresdecrevettes1963.avi.html" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br />Présentation de la crevette. Nutrition, reproduction et délivrance des larves.<br /><br /><br /><span style="font-weight: bold;">Transitions de phases dans les cristaux liquides<br />1978, 6'', coul.<br />Musique : François de Roubaix<br /><br /><a href="http://files-upload.com/176121/JeanPainlev-Transitiondephasedanslescris.avi.html" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br />Etude au microscope des dispositions moléculaires multicolores des cristaux liquides.<br /><br /></span><span class="postbody"><br /><img src="http://img6.picsplace.to/img6/23/Transition_de_phase_dans_les_crystaux_liquides.avi_000305400.jpg" border="0" /></span><br /><span class="postbody"><br /><br /><span style="font-weight: bold;">Jeux d'enfants<br />1948, 8'', n&b<br />Musique : Bizet<br /><br /><a href="http://www.megaupload.com/?d=6Z1RYLZ7" target="_blank" class="postlink">----> cest ici que ça se passe <----</a></span><br /><br />Chorégraphie de Pierre Conté dansée par Jacqueline Clédon et Michèle Nadal.<br />Tambour et trompette, La Poupée, La Toupie, Petit mari et Petite femme, Le Bal.<br /><br /><br />pour en savoir plus sur Jean Painlevé, je vous recommande chaudement<br /><span style="font-weight: bold;">Jean Painlevé : la science au service d’une nouvelle vision du monde</span>, de Isabelle Marinone « Anarchisme et Cinéma : Panoramique sur une histoire du 7ème art français virée au noir ».. Thèse sous la Direction de Jean A. Gili et Nicole Brenez, Université Paris I – Panthéon la Sorbonne, 2004. .<br /><span style="font-weight: bold;"><a href="http://raforum.info/article.php3?id_article=2442" target="_blank" class="postlink">(il suffit de suivre ce lien)</a></span><br /><br /><span style="font-weight: bold;">Sounding the depths: Jean Painlevé's sunken cinema</span>, de Jim Knox sur le toujours très bon webzine Senses of Cinema,<br /><span style="font-weight: bold;"><a href="http://www.sensesofcinema.com/contents/03/25/painleve.html" target="_blank" class="postlink">(il suffit de suivre ce lien)</a></span><br /><br /><br />Le (long) texte qui suit est honteusement piqué <span style="font-weight: bold;"><a href="http://www.lips.org/bio_painleve.asp" target="_blank" class="postlink">d'ici</a></span><br /><br /></span><table align="center" border="0" cellpadding="3" cellspacing="1" width="90%"><tbody> <tr> <td class="quote">Lorsqu'en 1927 Jean Painlevé apparaît pour la première fois derrière la caméra pour tourner " L'œuf d'épinoche ", film qui devait accompagner une communication à l'Académie des Sciences, se doutait-il qu'il débutait là un " job " 1 qu'il allait poursuivre jusqu'à la fin de sa vie ? Il laisse derrière lui une filmographie comportant près de 200 films, pour la majorité des films dont le sujet est le monde d'animaux marins : crevettes, pieuvres, oursins et autres crustacés et mollusques. Comment se fait-il que lui, fils de Paul Painlevé, placé en des observatoires si propices pour filmer les grands de ce monde, ne l'a-t-il pas fait ? Pourquoi s'être obstiné à fixer son objectif sur des vedettes qui n'en sont pas selon les critères habituellement admis ? Une énigme pour certains chercheurs et historiens de cinéma. Je n'ai pas de réponse à donner. Painlevé était-il plus à l'aise avec ses animaux qu'avec ses pairs ? Ou peut-être la question n'est-t-elle pas tout simplement bien posée.<br /><br /><span style="font-weight: bold;">Les films de Jean Painlevé s'inscrivent dans un mouvement de révolte, de rébellion contre l'ordre, ce n'est donc pas par hasard si la présence animale est si envahissante. De tous les temps, quand l'homme veut exprimer ses doutes, son espoir, il se sert des animaux.</span><br /><br />Jean Painlevé est élevé par sa tante, Marie, veuve et sœur de Paul Painlevé, après que sa mère, Marguerite Petit de Villeneuve est emportée par la fièvre puerpérale peu de temps après sa naissance. Ses études se déroulent de façon peu spectaculaire. Il ne chahute pas en classe, tout simplement il n'écoute pas. Plus tard, il sèche les cours pour aller au Jardin d'Acclimatation où il aide le gardien à s'occuper des animaux. "Au lycée mes camarades me détestaient. Ils détestaient les marginaux, comme Vigo, fils de l'anarchiste Almereyda, Pierre Merle, fils d'Eugène Merle, Directeur du Merle Blanc. Moi, j'étais le fils d'un Boche, de ce Painlevé qui s'était battu pour Sarrail, seul et unique général républicain, et qui avait relevé de ses fonctions Nivelle pour le remplacer par Pétain "2. Il finit donc ses années de lycée à l'écart de " ces pauvres malheureux qui étaient comme des commerçants dans leur négoce "3. Parmi ses rares copains, on trouve le futur critique de cinéma, Georges Altman, l'écrivain et spécialiste en pierres précieuses Armand Moss (Moschowitz), que l'on voit en 1927 comme figurant dans Mathusalem. Finalement, il doit abandonner la préparation à l'Ecole Polytechnique, car il ne comprend rien aux mathématiques4.<br /><br />Plus tard, quand en 1935, l'Association des anciens élèves du Lycée Louis Le Grand écrit à Jean Painlevé en vue de les nommer, lui et son père, membres d'honneur, il accepte pour son père, mais décline pour lui-même : " J'ai l'intention de contribuer, avec mes modestes moyens à l'abolition complète de l'éducation secondaire qui m'a toujours profondément dégoûtée ", écrit-il au Président de l'Association, " n'ayant jamais fréquenté mes camarades à l'école, je n'ai nullement envie de les fréquenter maintenant "5.<br /><br />En 1921, Painlevé entame des études de médecine. Deux ans plus tard, il claque la porte au nez du professeur Delbet après un désaccord sur le traitement d'un patient hydrocéphale, traitement estimé cruel par Painlevé6. Il se tourne alors vers la biologie. Et commence à fréquenter la Station Biologique de Roscoff où il rencontre " Ginette " Hamon, fille d'Augustin et d'Henriette Hamon, traducteurs de George Bernard Shaw. Ginette sera sa compagne à vie. Ty an Diaoul, la maison des Hamon à Port Blanc devient rapidement une seconde maison pour Painlevé. Il y reçoit ses amis, parmi lesquels Boiffard,, rencontré à la Sorbonne, Pierre Prévert qui passe son temps à dessiner des cadavres exquis, Eli Lotar qui plus tard assistera Painlevé à la caméra et Alexander Calder. " Ses inventions étaient sans limites ", dira de lui Painlevé , " il transformait immédiatement tout : cuillères, couteaux, antennes, horloges" . Les journées sont passées à la mer, Painlevé et Boiffard prennent des photos, les soirées à Ty an Diaoul, où on joue au poker " avec des haricots et beaucoup de zèle "7.<br /><br />Vers cette époque Painlevé se lie d'amitié à Ivan Goll avec qui il collabore à la sortie du premier (et unique) numéro de la revue Surréalisme8. Plus tard, leur amitié se soude par leur commune aversion au mouvement surréaliste orthodoxe, rallié autour d'André Breton. Pour Painlevé, le refus de Breton d'accorder quelque importance à la musique est une raison suffisante pour se distancer. En tout état de cause, Painlevé s'incommode vite dès qu'il s'agit de renoncer un tant soit peu à sa liberté. En 1926, Painlevé jouera un petit rôle et s'occupera de la réalisation des six séquences filmées et projetées sur un fond de nuages blancs lors de la représentation de la pièce de théâtre " Mathusalem " d'Ivan Goll dans une mise en scène de René Sti. (" Sti comme stimulant "). En 1926, Painlevé avait fait la une : " Le fils du Président du Conseil fait du cinéma pour aider le laboratoire d'anatomie comparée de la Sorbonne ". Il s'agit du film - inachevé - " L'Inconnue des six jours " de René Sti où Painlevé joue aux côtés de Michel Simon.<br /><br /><span style="font-weight: bold;">Ce n'est qu'après ces intermèdes que Painlevé se tourne vers la réalisation. Entre 1928 et 1930, il tourne une dizaine de films, dont plusieurs destinés au grand public : " La Pieuvre ", " L'Oursin ", " Le Bernard l'Ermite ", " Crabes et Crevettes ", " Caprelles et Pantopodes ", " Hyas et Sténorinques ".... Sur l'insistance de Robert Lyon, directeur de la Salle Pleyel, Painlevé rencontre Maurice Jaubert et commence à sonoriser ses films tout en conservant les intertitres. A Paris, le public est celui, restreint, des salles d'avant garde. Restreint, mais de qualité : quand le cinéma Les Miracles ouvre ses portes le 23 décembre 1930, la crédibilité scientifique de Painlevé se transforme en légitimité artistique. Le public est venu nombreux pour voir " Hallelujah " de King Vidor, " Disque 957 " de Germaine Dulac et " Caprelles et Pantopodes " de Painlevé. La presse est très généreuse. Fernand Léger dit que c'est le ballet le plus beau qu'il ait jamais vu. Marc Chagall loue le film de Painlevé comme une source d'inspiration en raison de sa " richesse plastique incomparable " et sa rigueur : " du vrai art sans chichi "9.</span><br /><br />Mais le seul film qui bénéficie d'une distribution digne de ce nom est " L'Hippocampe " dont Bernard Natan de Pathé-Natan financera la sonorisation (Painlevé avait fait une version muette avec intertitres). Il sera montré dans le circuit des salles Pathé Consortium du même groupe, donc une diffusion inespéré. Painlevé n'est pas loin de se faire ce prénom dont il a tellement besoin.<br /><br /><span style="font-weight: bold;">Cinéaste de l'apparence, Painlevé, comme d'autres contemporains, ne s'attache qu'aux caprices des formes et aux jeux de la lumière, et ne s'aventure pas dans le terrain d'hypothétiques spéculations psychologiques sur ses effigies.</span> Il y a chez Painlevé une heureuse réciprocité entre l'animal et l'humain, toute dépourvue de condescendance. Si le scientifique est là pour nommer, comme Adam dans le jardin d'Eden - et Painlevé " joue " volontiers au scientifique (parfois il en rajoute même) - , il ne se cantonne pas dans ce rôle, il se fait surtout le porte-parole des animaux qu'il enregistre et rend visible des phénomènes jamais vus à l'œil nu grâce au microcinéma ,à l'accéléré, au ralenti...<br /><br />Une de ses grandes déceptions est de ne pouvoir enregistrer les scènes immédiates, imprévisibles qui, rares et fugaces, le laissent pantois, comme ce paillon qui " assomme à coup d'aile une femelle et la piétine un peu pour lui donner un avant-goût du ménage "10. Son travail, Painlevé le décrit avec son habituelle sens de la litote : " Le métier comporte ses joies pour ceux qui aiment la mer, pour ceux qui l'aiment jusqu'à l'exclusion de toute autre possibilité de joie naturelle. Patauger jour et nuit par n'importe quel temps même où l'on sait ne rien trouver, de l'eau au nombril ou au chevilles, fouiller partout, algues ou pieuvre, s'hypnotiser sur une mare sinistre où tout vous guette alors que rien n'y vit - extase de n'importe quel intoxiqué y compris le chien de chasse kilométrant en tous sens avec un plaisir infini le champ dont chaque repli cache, au plus, une vieille patate "11.<br /><br />Dans ce bestiaire, on est en effet frappé par la consistance de la curiosité presque jubilatoire avec laquelle Painlevé aborde ses sujets, dans un registre qui va de l'instinct, à l'agressivité, en passant par la tendresse... Il y a là une forme d'engagement de l'humanité à travers l'animalité. Quel étonnant assemblage de couleurs, de fonctions et de formes chez ces animaux, et quels curieux comportements ! Si par certains côtés les humains peuvent s'identifier avec eux - surtout quand ces côtés sont appuyés par ses images, ses commentaires et la musique qu'il a choisie -, ce n'est pas toujours le cas, loin de là. On est alors saisi par un sentiment d'inquiétante étrangeté. Quelque chose nous dépasse devant la multitude de comportements plus curieux les uns que les autres qu'il nous donne à voir. C'est sans doute le jeux anthropomorphique que pratique Painlevé qu'on lui a le plus reproché. Il s'en explique : " Et combien de légendes à détruire ! Tout est matière à l'anthropomorphie la plus saugrenue, tout a été fait pour l'homme et à l'image de l'homme et ne s'explique qu'en fonction de l'homme sinon " ça ne sert à rien "12... Mais les dispositifs utilisés par Painlevé ne ressemblent en rien ceux utilisés par exemple dans les films d'un Walt Disney qui projète sans détours, au premier degré, les émotions et comportements humains sur les animaux qu'il met en scène. Chez Painlevé, l'anthropomorphisme est mitigé par une forte dose d'ambiguïté et devient un outil de confrontation, souvent une juxtaposition du grotesque et de la beauté.<br /><br /><span style="font-weight: bold;">Les films de Painlevé sont réalisés en dehors de l'économie normale du cinéma. Painlevé est son propre producteur, il crée en 1930 les Documents Cinématographiques, il écrit et enregistre les commentaires, effectue le montage, choisit la musique (quand il ne la compose pas lui-même comme pour Oursins : des bruits organisés en hommage à Edgar Varèse)...</span> Il écrit des poèmes en prose présentant ses vedettes pour les plaquettes de programmation de ses films. Il cohabite même avec les animaux placés dans des aquariums dans les lieux qui lui servent d'habitation13. Il n'a donc pas d'équipe à proprement parler, mais il y a Ginette, sa fidèle assistante et compagne, André Raymond -rencontré lors du tournage de " L'Inconnue des six jours " - Eli Lotar pour quelques films tournés en 1929, Pierre Merle, assistant de Vigo, Pierre Achille Dufour " le meilleur truqueur de l'époque ", et pour Oursins (1954) c'est Claude Beausoleil qui l'assiste. Quand Léo Sauvage visite le ménagerie entretenue par Painlevé dans " L'Institut dans la Cave " en 1935, il déclare qu'il y a " quelque chose de bohême, quelque chose de frais, de jeune, de vivant, de grouillant et de non-conformiste qui doit faire la pige de la façon la plus insolente à la science momifiée de l'Académie "14 .<br /><br /><span style="font-weight: bold;">En effet, Painlevé fait du " cinéma scientifique " ; outre des films spécialisés de recherche pure, il fait du cinéma scientifique pour le grand publique</span>. Un peu l'équivalent du biologiste allemand, Jakob von Uexküll, qui, en littérature, pour expliquer la biologie au grand public, avait écrit un recueil de lettres à une amie fictive. Painlevé, grâce au cinéma, veut montrer la vie grouillante du monde sous-marin à un " public non averti. ". Pour financer ses réalisations, Painlevé fait des tournées de conférences, en France et à l'étranger. " Des centaines. Trois par jour quelquefois, et pas toujours dans le même patelin. Les boîtes de films étaient moins dures que certains wagons de troisième classe appartenant à des pays où je me rendais en 36 heures de claque-fesse. Comme l'Odéon reprenait " L'Arlésienne " quand la caisse se vidait, je reprenais " L'Etoile du Nord " pour joindre le pays où les esprits sont aussi cultivés que les tulipes... "15.<br /><br />[/b]Comment définir le " film scientifique " ? André Bazin disait que les limites de celui-ci étaient homothétiquement aussi indécises que celles du film " documentaire ", et que l'essentiel n'était pas qu'on les définisse, mais qu'on les réalise16. Painlevé lui-même revendique le terme peu valorisant et peu porteur de " cinéma scientifique "pour ses films, entendu comme un sous-genre de la classification générale de " documentaire ", dépourvu des notions de cinéma expérimental, cinéma pur ou d'avant garde. En août 1954, Henri Langlois invite Painlevé à s'associer à la manifestation de films d'avant garde qu'il prépare à Zurich, en préparant une programmation qui comprend " ...aussi bien votre propre œuvre, celle de Marey et des réalisateurs individuels de films scientifiques ". Il continue " J'ai supprimé le mot " cinéma scientifique " du programme, en le remplaçant par un euphémisme [avant-garde], qui, tout en rendant hommage à un homme que nous vénérons, permet de traiter du cinéma scientifique sans le nommer "17.[/b]<br /><br />Dans " La Castration du Documentaire "18, une diatribe contre la médiocrité, et l'indigence des documentaires programmés en " première partie " dans les sales commerciales,<br /><br />Painlevé rappelle la définition du documentaire sur laquelle s'étaient mis d'accord les membres fondateurs de l'Union Mondiale du Documentaire en 1947 :<br /><br /><span style="font-weight: bold;">" Tout film qui par des moyens rationnels ou émotionnels et à l'aide des prises de vue de phénomènes réels ou de leur reconstitution sincère et justifiée a pour but d'accroître consciemment les connaissances humaines ainsi que d'exposer les problèmes et leurs solutions au point de vue économique, social et culturel. ".</span><br /><br />Dans ce même article, il note que tous les " déchets " présentent les mêmes problèmes : manque de goût cinématographique, méconnaissance des lois élémentaires régissant l'exposé pour un public adéquat (un documentaire est fait quand on a déterminé pour qui et pourquoi), suppression de toute résonance entre le réalisateur et le sujet.<br /><br />Painlevé sait bien de quoi il parle : ses programmations de films (les siens et ceux des autres), commencées au début des années trente au Musée Pédagogique de la rue d'Ulm, poursuivies plus tard au Palais de Chaillot et au Palais de la Découverte, attirent un public nombreux, séduit par le malicieux mélange des genres qu'on retrouve dans sa propre œuvre. Les films de Painlevé montrent que la bâtardise est un terreau fertile qui peut inspirer de futurs cinéastes.<br /><br />^1 Jacques Prévert à Jean Painlevé : " Tu as choisi le bon job. Il ne se démodera jamais "<br />^2 Jean Painlevé inédit<br />^3 Jean Painlevé inédit<br />^4 Jean Painlevé dira plus tard qu'il voulut que les mathématiques fussent abordés comme un langage et non pas comme un mystère.<br />^5 Lettre de Jean Painlevé au Président de l'Association des Anciens Elèves du Lycée Louis Le Grand, datée 1935<br />^6 Circonstances décrites par Painlevé dans une saynète " L'opération ", 1984, inédit<br />^7 Jean Painlevé inédit<br />^8 Octobre 1924<br />^9 L'Intransigeant, 23 décembre 1930<br />^10 Les Pieds dans l'eau par Jean Painlevé, Voilà, 4 mai 1935<br />^11 Les pieds dans l'eau par Jean Painlevé, Voilà, 4 mai 1935<br />^12 Les Pieds dans l'eau par Jean Painlevé, Voilà, 4 mai 1935<br />^13 Selon plusieurs témoignages, la baignoire dans l'appartement de son enfance de la rue Séguier servait avant tout comme réceptacle pour les animaux ramenés des vacances à Ker-Ster, la maison que sa grand'mère maternelle louait à Pouldu en Bretagne. (Une autre célèbre baignoire avait servi à stocker des bobines de films ce qui, selon Jean Painlevé, prouvait que l'on ne se lavait pas, et nullement que l'on était un conservateur compétent).<br />^14 L'Institut dans la cave par Léo Sauvage Regards, 10 mai 1935<br />^15 Les pieds dans l'eau par Jean Painlevé, Voilà, 4 mai 1935<br />^16 Le film scientifique : Beauté du hasard par André Bazin, l'Ecran Français n° 121, 21 octobre' 1947<br />^17 Lettre d'Henri Langlois à Jean Painlevé, 12 août 1954<br />^18 La castration du documentaire par Jean Painlevé, Les Cahiers du Cinéma n° 21, Mars 1953</td></tr></tbody></table>merzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com0tag:blogger.com,1999:blog-5527824975843919230.post-44183656739524705512007-02-11T19:33:00.000+01:002007-02-13T11:11:25.044+01:00Music, it's the bourgeoisie yeah !<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://secure.bluecollardistro.com/Merchant2/graphics/00000002/hhi-cd-090-full.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px;" src="https://secure.bluecollardistro.com/Merchant2/graphics/00000002/hhi-cd-090-full.jpg" alt="" border="0" /></a><br /><span style="font-weight: bold;">Everlovely Lightningheart - Cusp (2006)</span><br /><br /><span style="font-weight: bold;"><a style="font-weight: bold;" href="http://www.sendspace.com/file/l51rky">----> cest ici que ça se passe <----</a></span><br /><br />The Wire ( p.68 ) - "CUSP is a shifting 40 minute track that begins with a moody piano solo, before moving through a series of sections that take in Ambient, noise and even some strain of distorted gamelan."<br /><br /><br />/////<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i.walmart.com/i/p/00/78/16/76/69/0078167669372_500X500.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px;" src="http://i.walmart.com/i/p/00/78/16/76/69/0078167669372_500X500.jpg" alt="" border="0" /></a><br /><br /><span style="font-weight: bold;">Merzbow - Pulse Demon</span><br /><br /><a style="font-weight: bold;" href="http://www.sendspace.com/file/fwo176">----> cest ici que ça se passe <----</a><br /><br />Alternative Press (2/97, p.65) - 4 (out of 5) - "...Forget songs; this is about texture. PULSE DEMON's eight tracks range from the three-and-a-half minute `Woodpecker #2' to the near half-hour of `Worms Plastic Earthbound.' Grating, high-pitched frequencies and low-cycle rumblings abound....Dive in, or run screaming."<br /><br />Merzbow est le pseudonyme utilisé par le musicien japonais Masami Akita (né en 1956) pour la plupart de ses enregistrements de noise music expérimentale. Il a réalisé de nombreux CD, vinyles ou cassettes depuis le début des années 1980.<br /><br />oui cest "du bruit ce disque, mais c'est marrant"<br /><br /><br />/////<br /><br /><div style="text-align: center;"><img src="http://www.artistdirect.com/Images/Sources/AMGCOVERS/music/cover200/dre200/e275/e27511kanv0.jpg" border="0" /><br /></div><br /><span style="font-weight: bold;">Merzbow - Age Of 369 / Chant 2 (2CDS)</span><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=ZC99HE66">----> cest ici que ça se passe <----</a><br /><br /><span style="font-size:100%;">In the very early days of Extreme, as a tape label, selected titles from artists working in the industrial underground were distributed by Extreme. "Age of 369" was one of those cassette releases and continues to be a favourite for most noise enthusiasts.<br />The lesser known "Chant 2" is also from this period (1984) and complements the sonic intensity of the other. Of further importance is the influence of Maurizio Bianchi (MB) and the mail art that was integral to the industrial underground. These reissues document significant works from Japan's Noise master.<br /><br />Merzbow est le pseudonyme utilisé par le musicien japonais Masami Akita (né en 1956) pour la plupart de ses enregistrements de noise music expérimentale. Il a réalisé de nombreux CD, vinyles ou cassettes depuis le début des années 1980.</span><br /><br /><br />/////<br /><br /><br /><div style="text-align: center;"><img src="http://www.someplaceelse.net/shop/images/merzbow_emilb_love.jpg" border="0" /><br /><br /></div> <span style="font-weight: bold;">Merzbow + Emil Beaulieau - Merzbow Loves Emil Beaulieau</span><br /><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=66MDXLC6">----> cest ici que ça se passe <----</a><br /><br /><blockquote> Emil Beaulieau (or more fully: “Emil Beaulieau: America’s Greatest Living Noise Artist”) is the stage name of Ron Lessard, a prominent noise musician who primarily records for his own label: RRRecords. He has collaborated and performed with many well-known noise artists, including Merzbow. Beaulieau frequently performs with a custom-made four-armed turntable named the Minutoli after its creator, a friend of the artist’s. Dressed in his trademark pink dress shirt, tie, and grey cardigan, Emil Beaulieau acts out comical performances.<br /><br />Emil Beaulieau is also believed to have been the first to have applied the LAYLAH Records term “anti-record” to musical records which have been treated (melted, drilled, painted, etc.) so that they become noise records. While something like this had been done by experimental artists for several decades, it wasn’t until Emil’s release of a series of such records (Billboard Combat, Metastasis; Due Process, Do Nothing and many many more) that these (anti-)art pieces were widely called anti-records.<br /></blockquote>Merzbow est le pseudonyme utilisé par le musicien japonais Masami Akita (né en 1956) pour la plupart de ses enregistrements de noise music expérimentale. Il a réalisé de nombreux CD, vinyles ou cassettes depuis le début des années 1980.<br /><br /><br />/////<br /><br /><br /><div style="text-align: center;"><img src="http://www.sxdistribution.de/site/images/merzbow-gore_beyond_necrospy_rectal_anarchy.jpg" border="0" /><br /></div> <span style="font-weight: bold;"><br />Merzbow + Gore Beyond Necropsy - Rectal Anarchy<br /><br /></span> <a style="font-weight: bold;" href="http://www.megaupload.com/?d=WKJW33DF">----> cest ici que ça se passe <----</a><br /><br />Gore Beyond Necropsy est un groupe japonais, proposant une musique très rapide et dont le son est particulièrement bruitiste (lo-fi). Leurs textes intègrent des références scatologiques dans un contexte politique anti-capitaliste.<br /><br />Merzbow est le pseudonyme utilisé par le musicien japonais Masami Akita (né en 1956) pour la plupart de ses enregistrements de noise music expérimentale. Il a réalisé de nombreux CD, vinyles ou cassettes depuis le début des années 1980.<br /><br />/////<br /><br /><br /><div style="text-align: center;"><img src="http://users.tkk.fi/%7Eomertalo/MERZBOW/mortaux.jpg" border="0" /><br /></div> <span style="font-weight: bold;"><br />Merzbow - Mort Aux Vache: Locomotive Breath<br /><br /></span> <a style="font-weight: bold;" href="http://www.megaupload.com/?d=VMGL20SV">----> cest ici que ça se passe <----</a><br /><br />Merzbow est le pseudonyme utilisé par le musicien japonais Masami Akita (né en 1956) pour la plupart de ses enregistrements de noise music expérimentale. Il a réalisé de nombreux CD, vinyles ou cassettes depuis le début des années 1980.<br /><br />/////<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.digitalnarcis.com/image/cd_photo/cd2647.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px;" src="http://www.digitalnarcis.com/image/cd_photo/cd2647.jpg" alt="" border="0" /></a><span style="font-weight: bold;"><br />Merzbow - Pinkream</span><br /><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=BZ8KZC22">----> cest ici que ça se passe <----</a><br /><br />Merzbow est le pseudonyme utilisé par le musicien japonais Masami Akita (né en 1956) pour la plupart de ses enregistrements de noise music expérimentale. Il a réalisé de nombreux CD, vinyles ou cassettes depuis le début des années 1980.<br /><br />////<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://tisue.net/orourke/covers/rainbow.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px;" src="http://tisue.net/orourke/covers/rainbow.jpg" alt="" border="0" /></a><span style="font-weight: bold;">Merzbow - Rainbow Electronics (1996)</span><br /><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=5BZZ3JQ1">----> cest ici que ça se passe <----</a><br /><br />Merzbow est le pseudonyme utilisé par le musicien japonais Masami Akita (né en 1956) pour la plupart de ses enregistrements de noise music expérimentale. Il a réalisé de nombreux CD, vinyles ou cassettes depuis le début des années 1980.<br /><br /><br />////<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.equalvision.com/press/thesoundofanimalsfighting/EVR127-LoverTheLordHasLeftUs.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px;" src="http://www.equalvision.com/press/thesoundofanimalsfighting/EVR127-LoverTheLordHasLeftUs.jpg" alt="" border="0" /></a><br /><span style="font-weight: bold;">The Sound of Animals Fighting - Lover, the Lord Has Left us…</span><br /><br /><a style="font-weight: bold;" href="http://www.sendspace.com/file/33jfpb">----> cest ici que ça se passe <----</a><br /><br />Horde improbable sortie de Los Angeles, The Sound Of Animals Fighting évolue d'abord dans un emocore classique avant de pousser son psychédélisme et ses expérimentations vers un rock progressif. Après un premier album en 2005, c'est chez Equalvision que le groupe balance sa seconde plaque, un an plus tard.<br /><br />Le groupe est composé, entre autres, d'anciens membres de Finch, Circa Survive, Saosin et RX Bandits.<br />A ce jour, 9 membres participent à ce projet, tous revêtus d'un masque animalier afin de garder l'anonymat pour des raisons de droits d'auteur et de contrats avec leurs labels respectifs.<br /><br /><br />/////<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.ondarock.it/recensioni/2006/cover/kayodot.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px;" src="http://www.ondarock.it/recensioni/2006/cover/kayodot.jpg" alt="" border="0" /></a><br /><span style="font-weight: bold;">Kayo Dot - Dowsing Anemone with Copper Tongue<br /><br /></span><a href="http://www.megaupload.com/?d=1UR7OOKP"><span style="font-weight: bold;"></span></a><a style="font-weight: bold;">----> cest ici que ça se passe <----</a><br /><br />CMJ (p.6) - "Full of slowly unfolding theater-thrash atmospherics and hand-drawn art, Kayo Dot's is a lot like fellow robotic emperors Circle Takes The Square..."<br /><blockquote>Ce qu'il y a d'énervant avec les amateurs de musique progressive, c'est qu'ils finissent par en voir partout. Juste pour se rassurer que leur courant fétiche n'est pas mort. Un peu à l'instar des infâmes Mars Volta, Kayo Dot est sans aucun doute, lui aussi, sur le point de voir sa musique se faire récupérer par une horde de frustrés en manque de sensations fortes. Ce qui attire ces gens-là, en réalité, c'est l'excès. La musique de Omar Rodriguez et ses potes est excessive. Celle de Kayo Dot aussi. Mais si l'un privilégie la démesure dans une attitude que l'on pourrait qualifier d'extravertie, la formation de Toby Driver nous remue de la même manière, si pas plus, tout en livrant bataille en dedans. "Dowsing Anemone with Copper Tongue" est un disque tumultueux et difficile, un véritable objet musical non identifié dans le payasage indépendant actuel, et les sentiments contradictoires qu'il engendre sont pour beaucoup dans la fascination qu'exerce sur nous cette musique pour le moins indéfinissable. L'adjectif qui me paraît le plus approprié pour tenter de définir ce qui se trame pendant cette heure au parfum surréaliste est : climatique. Voilà en effet un album qui véhicule des sensations peu communes, propre à faire réagir votre épiderme comme si un vent glacé vous effleurait. Seulement, il y a ici quelque chose d'irrémédiablement étrange. Quelque chose de curieux, qui échappe à toute logique. Une moiteur torride qui se partagerait le ciel avec des chutes de neiges très abondantes. Culture du paradoxe où la température hivernale qui règne alentours ne semble pas affecter le moins du monde la chaleur que l'on ressent pourtant. Un balancement perpétuel entre des courants contraires, débouchant sur une sorte d'érotisation du morbide. On frissone à l'écoute de ces plages parfois kilométriques où l'héritage apocalyptique de Neurosis se fait clairement entendre. À cela, Kayo Dot ajoute cuivres et instruments à cordes, sublimant le discours post rock de Set Fire to Flames et Do Make Say Think, pour ériger une musique freeform jusque là inédite. Paru chez Tzadik en 2003, "Choirs of The Eye" était un premier album impressionnant. D'une rare densité et pertinent de bout en bout, "Dowsing Anemone with Copper Tongue" confirme tout le talent visionnaire de Toby Driver, repoussant les frontières de l'impossible sur un disque plus visqueux que réellement insaisissable, balayant d'un revers de la main toute cette cohorte de groupes dont les effets de surenchère inutile et cette culture nauséabonde du tape-à-l'oeil sont en réalité leur seul vrai moteur.<br /><br /></blockquote><span class="normal">/////<br /><br /><br /></span><span style="font-weight: bold;">Dälek - Abandonned language<br /></span><span>nouvel album (2007)</span><span style="font-weight: bold;"><br /></span><br /><a style="font-weight: bold;" href="http://www.sendspace.com/file/jk2w3z">----> cest ici que ça se passe <----</a><br /><br /><br />////<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://ec1.images-amazon.com/images/P/B000I2K9JW.01._AA240_SCLZZZZZZZ_V39823082_.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px;" src="http://ec1.images-amazon.com/images/P/B000I2K9JW.01._AA240_SCLZZZZZZZ_V39823082_.jpg" alt="" border="0" /></a><span style="font-weight: bold;" class="postbody">Isis - In The Absence Of Truth</span><br /><br /><a style="font-weight: bold;" href="http://www.megaupload.com/?d=VJUQPLA8"><span class="postbody">----> cest ici que ça se passe <----</span></a><br /><br /><span class="md">Forward-thinking art/prog metalheads Isis dig deeper and more densely into their musical palette with their fourth album, IN THE ABSENCE OF TRUTH. As with earlier releases, the group's often droney, mixed-back vocals, intricate drumming, and diverse guitar work paint a complex sonic landscape. With an approach that is equal parts trippy and ferocious, Isis continue to spawn imitators even as the band's latest work sets new standards for the heady niche they've carved out. With more visible bands such as Mars Volta and Tool paving the way, Isis appear poised to take their brand of heavy ambient rock to the masses.<br /><br /></span>Alternative Press (p.192) - "Call it raga-metal or modal rock if you need a qualifier, but it's certainly a leap further into the ethereal weirdness that defined 2004's shoegaze- and electronics-inspired PANOPTICON."<br />Kerrang (Magazine) (p.49) - "Isis have stealthily shifted their focus in the lighter shades of their palette....The more sparing use of crushing riffage just makes the elementally heavy sections hit even harder."<br /><br /><br />/////<br /><br /><span style="font-weight: bold;">Ø - Metri</span><br /><br /><a style="font-weight: bold;" href="http://www.sendspace.com/file/idk89w">----> cest ici que ça se passe <----</a><br /><br /><br />One of the most essential minimal techno albums evermerzboyhttp://www.blogger.com/profile/04738518188182863863noreply@blogger.com1