具体描述
The writings of Straub and Huillet, presented for the first time in a critical, English-language edition, shed light on the filmmaking couple's essential contributions and their unique place in film history.
A text is spoken; it merges the sphere of ideas, from which it comes, with an immediate and sensible sphere of bodies that give life to them, with a nature that sustains these bodies, and that they in turn nourish by naming it. The body, in which language resonates, becomes the body of the text itself and protracts its speaking.
Here trees are trees and become trees. We learn by taking pleasure in the sublime essence of colors (leaf-green, earth-brown, sky-blue, bronzed-skin…), of timbres (voices, birds, steps…), of textures (flesh, fabric, earth…), the irreversibility of gestures.
These shots are rich in their concerted poverty: here's how.
―Anne Benhaïem, from introduction to “Conception of a Film”
Sequence Press is pleased to announce the publication of the writings of the filmmaking couple Jean-Marie Straub and Danièle Huillet, presented for the first time in a critical, English-language edition. Two of the most exacting directors of the past fifty years, Straub and Huillet are renowned for their meticulous adaptations of works by giants of Western art and literature: Sophocles, Corneille, Bach, Hölderlin, Cézanne, Brecht, Schoenberg, Kafka, Pavese, et al. The publication coincides with the first complete U.S. retrospective of their films at the Museum of Modern Art in New York, and the concurrent exhibition, Films and Their Sites, at Miguel Abreu Gallery.
Jean-Marie Straub came of age as a slightly younger contemporary of the French New Wave. Like those directors, he began his career writing film criticism. “Writing about films,” Jean-Luc Godard later said, “was already a way of making films.” This volume thus begins with Straub's early film criticism from the 1950s and traces the evolution of over five decades of writing activity, from manifestoes and trenchant declaratory texts, to detailed descriptions of working methods, letters, questionnaires, and select interviews and oral interventions.
Writings opens with an introduction by Sally Shafto that provides an in-depth look at Straub and Huillet's beginnings, within the context of the emergent filmmaking forces of the time. The book highlights their rigorous methodologies as translators of key texts, and the precision work required to adapt those translations for the screen. As Straub himself said, “We are the only European filmmakers, filmmakers of European nations. We make films in Italian as well as in French and in German. Who else can say that?” The book brings us behind the scenes and reveals how their publication practices mirrored those of their film production and distribution, as they often made distinct versions of the same film using alternative takes and different languages.
In addition to the published texts, the book comprises a richly illustrated Atelier section featuring three full length annotated film scripts, along with other pieces of writing, such as letters to their collaborators, shooting diagrams and schedules, lab notes, and press kits, all of which bring the reader into the heart of Huillet and Straub's creative process. The volume closes with a Portfolio of intimate photographs of the filmmakers at work, with onsite observations by their long-time director of photography and collaborator, Renato Berta, and a detailed filmography.
Jean-Marie Straub and Danièle Huillet resolutely eschewed a Hollywood style of spectacle filmmaking to create some of the most raw and beautiful, as well as innovative and profoundly moving films of our times. Their writings open up a further understanding of their essential contributions, and their unique place in film history.
作者简介
Review
Editor and translator Sally Shafto has selected texts and images with shrewdness and insight, and designer Scott Ponik has assembled them into a book that is not merely easy to read, but is a pleasure to hold. People who've never heard of Straub-Huillet will want to be seen with it … Indeed, this one book informs not only the films Straub-Huillet derived from it, but all of their work. Conflict and struggle are inevitable, resolution is perpetually deferred, but nature, poetry, and music refresh and inspire.
―Kevin McMahon, Los Angeles Review of Books
About the Author
Jean-Marie Straub (b. 1933) and Danièle Huillet (1936–2006) together formed a collaboration that produced some of the most innovative, rigorous, and profoundly moving films in the history of cinema. They are renowned for their meticulous adaptations of works by giants of Western art and literature: Sophocles, Corneille, Bach, Hölderlin, Cézanne, Brecht, Schoenberg, Kafka, Pavese, et al. Straub continues to renew his commitment to subverting cinematic conventions, and maintains the spirit of his exacting partnership with Huillet, broadening a body of work that now includes over fifty films with his most recent, Gens du Lac, released in 2018.
目录信息
Acknowledgments
Introduction: Filmmakers at Work by Sally Shafto
List of Films
TEXTS
— 1950s
1. The 15th Venice Film Festival Began Brilliantly with the Americans
2. Grisbi, the Japanese, and Buñuel’s Genius
3. Does Rossellini’s Work Have a Christian Meaning?
4. Five New Films by Rossellini
5. Clouzot Smears the Viewer; Hitchcock Exalts the Public
6. Who Is Nicholas Ray?
7. Status of the New Filmmaker
— 1960s
8. Once Upon a Time There Was a Little Filmmaker
9. Portrait and Character
10. M= M
11. The Second Oberhausen Manifesto
12. Not “Performing,” Reciting
13. Frustration of Violence
14. Encounter with the New German Cinema
15. The Bach Film
16. Questionnaire on Film and Narrative
17. Straub Autobiography
18. Presentation of Not Reconciled
19. I Have Always Been Horrified …
20. Peter Nestler, a Documentarian Not Reconciled
21. On Ernst Lubitsch
22. Protest
23. The Bridegroom, the Actress, and the Pimp
24. Introduction to Nestler
25. Ferocious
26. Mao’s Last Judgment
27. Eliminate the System and the State
— 1970s
28. Introduction to Othon
29. Dubbing Is Murder
30. Othon: Presentation for Its Broadcast on German Television
31. Filmcritica, Eisenstein, Brecht
32. “Not Reconciled” with Television Censorship
33. Filmmaking Must Retain Teamwork …
34. Filmography of Jean-Marie Straub
35. On The Business Affairs of Mr. Julius Caesar
36. Interview on Direct Sound
37. Small Historical Excursus
38. Letter to the Export Union of German Cinema
39. David Wark Griffith, Flower of the American Bourgeoisie
40. Huillet Autobiography
41. To Kluge
— 1980s
42. Letter to Jean Narboni
43. Witches (The Chimera?)
44. How to “Correct” Nostalgia
45. Letter to Fred Camper
46. Reagan at Bitburg
47. Fire: Alfred Edel
48. Letter to Wim Wenders
49. An Attack on the Reproducibility of a Work of Art
50. Hölderlin, That Is Utopia
51. Cézanne/Empedocles/Hölderlin/von Arnim
52. Conference: Conception of a Film
53. Filmcritica Is the Only Italian Review …
— 1990s
54. S.D.
55. Quite a Lot of Pent-Up Anger …
56. Interview on Chronicle of Anna Magdalena Bach
57. Debate on Images and Virtual Reality
58. Interview on Images and Magic
59. To the Inhabitants Alive and Dead of Hiroshima and Nagasaki
60. Interview: No Appeasement
61. Autofilmography
— 2000s
62. Letter About La Vallée close
63. Questionnaire on Globalization
64. Frans van de Staak Has Died …
65. My Key Dates
66. Questionnaire on May 1968
67. Action Directe
68. The Oil Spill
69. Three Messages to the 63rd Venice International Film Festival
Work Journal for Moses and Aaron
by Gregory Woods with Annotations by Danièle Huillet
ATELIER
Letter to Renato Berta for Fortini/Cani
Itinerary for Too Early,Too Late
Letter to Willy Lubtchansky and Caroline Champetier for Too Early,Too Late
Diagrams for The Death of Empedocles
Shooting Schedule for Cézanne
Lab Notes for Cézanne
Negative Cutting Notes for Cézanne
Sound Mix Notes for Cézanne
Homage to Louis Hochet
Shooting Notes for From Today until Tomorrow
Letter to Willy Lubtchansky and Itinerary for Sicilia!
Location Notes for Sicilia!
Letter to Willy Lubtchansky About Sicilia!
Press Kit for Antigone
Annotated Script for Antigone
Press Kit for Workers, Peasants
Annotated Script for Workers, Peasants
Press Kit for A Visit to the Louvre
Annotated Script for A Visit to the Louvre
Letter to Julie Koltaï for Her Birthday
Press Kit for These Encounters of Theirs
Annotated Script for These Encounters of Theirs
PORTFOLIO by Renato Berta
Filmography
Compendium of the Writings
Selected Bibliography
Index of Names
Credits
· · · · · · (收起)
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这本书的结构简直是个迷宫，而且还是那种设计得极其反人类的迷宫。我花了将近一半的篇幅试图理解作者到底想从哪个角度切入他想要表达的主题，结果发现他似乎同时从十个不同的、互不相干的角度同时下刀，把主题切得粉碎。叙事节奏就像是坐过山车时突然被拉爆胎，一会儿慢到让人昏昏欲睡——比如某章用了五十页去探讨一把旧椅子上油漆脱落的象征意义——一会儿又快到让人措手不及，突然抛出一个爆炸性的事件，然后又戛然而止，仿佛作者突然想起来还有别的事情要做，匆匆收笔。我喜欢那些有明确脉络和清晰主题的作品，这本书恰恰相反，它更像是一堆高能碎片在空中随机碰撞，偶尔产生一些美丽的火花，但绝大多数时候只是徒增混乱。我甚至开始在脑子里为这些章节重新排序，试图构建一个更合理的逻辑线。当我向朋友推荐时，我只能含糊地说：“哦，它很有想法，但你得自己去拼凑。”这对于一本应该提供引导的读物来说，简直是致命的缺陷。那种阅读完成后的感觉不是“我领悟了什么”，而是“我刚刚经历了什么？”——一种对时间消耗的困惑感。
评分如果要用一个词来形容阅读这本书的体验，那可能是“过度编辑”。我有一种强烈的感觉，作者在创作的每一个阶段都投入了太多的自我修正和美化，导致最终成品失去了应有的生命力。它的文本密度极高，几乎没有喘息的空间，每一个句子都被塞满了信息和意象，仿佛作者害怕如果少放一个词，读者就会错过他认为至关重要的某层含义。这种对“完整性”的病态追求，反而造成了阅读的疲劳。我不得不经常停下来，重读某一段落，不是因为我没理解，而是因为我需要时间来处理那些密集堆砌的比喻。这本书需要的不是更多的形容词，而是更多的留白，更多的呼吸，让那些意象有时间在读者的脑海中沉淀和发酵。它更像是一张被过度锐化、对比度拉到最高的照片，虽然细节纤毫毕现，但整体却显得过于尖锐和不自然。一个好的作品，应该像一首旋律优美的乐曲，有高潮也有舒缓，有主旋律也有和声。而这本书，全程都在演奏着一个高亢的、没有休止符的尖叫，最终听起来，只是噪音。
评分从思想深度的角度来看，这本书让人感到一种故作深沉的空洞感。作者似乎对存在主义、后现代解构主义以及某种模糊不清的东方哲学抱有极大的热情，并试图将所有这些“大词”一股脑地塞进读者的脑子里。然而，这些宏大的概念在具体的文字层面却缺乏坚实的支撑。每一次当我认为他要触及某个真理的边缘时，他总会像受惊的兔子一样跳开，转而去描绘一片云的形状如何预示着某个不太重要的角色的内心挣扎。这种对真正深刻洞察的回避，让我感到非常沮丧。一个严肃的思考者，会用清晰的逻辑和有力的论据来支撑他的观点，即使观点是晦涩的，论述过程也应该是严密的。但在这里，我们面对的是一连串的“也许”、“可能”、“或许是某种暗示”，而不是明确的论断。这感觉就像是有人在黑暗中敲打着一个空心的鼓，声音很大，但敲击的内容却轻飘无力。我更愿意读一个踏踏实实讲述生活琐事却能折射出人性光辉的作品，而不是这种试图用华丽辞藻堆砌出的“精神高度”。
评分这家伙的文笔实在太……难以捉摸了。我得说，当我翻开这本书的时候，我对它抱有的期待值简直是直冲云霄，毕竟封面设计得那么引人注目，那种略带复古的字体配上深沉的墨蓝色背景，一看就知道作者在试图营造一种宏大叙事的感觉。然而，读进去之后，那种感觉就像是走进了一个布满了各种奇珍异宝的古董店，你被各种琳琅满目的物件闪花了眼，却找不到一个清晰的主线索能把它们串联起来。作者似乎痴迷于用极其华丽、冗长、甚至有些故作高深的词藻去描绘一些非常日常的场景。比如，他能用整整三页纸的篇幅来描述一个角色早上醒来，拉开窗帘看到阳光洒在木地板上的那种“光影的哲学辩证关系”，我承认，开头那几句确实有点意思，但很快，这种刻意的雕琢就开始让人感到窒息。每一次翻页，我都得深吸一口气，准备迎接下一波排山倒海而来的形容词。这更像是一本作者的个人“语汇展示录”，而不是一本精心构建的小说或随笔集。我期待的是故事的流动，是思想的碰撞，结果得到的却是一堆堆精心打磨但彼此疏离的词语碎片。我甚至开始怀疑，作者是不是想用这种方式来考验读者的耐心和词汇量。整体阅读体验，像是在攀登一座装饰着太多浮夸雕塑的陡峭山崖，风景或许不错，但每一步都走得异常艰难和疲惫。
评分这本书的对话部分是它最让我感到困惑的地方之一。如果这是一部戏剧或者小说，人物之间的交流应该是推动情节、揭示性格的关键。但在这里，人物的对话更像是两个在不同频道上各自朗诵诗歌的人，他们似乎共享同一个物理空间，却完全没有在进行真正的交流。我注意到，很多角色的发言都带着一种僵硬的、舞台化的腔调，仿佛每个人都觉得自己是在为一部实验戏剧做配音，用力过猛，以至于完全失去了日常交流中的那种自然和潜台词。有时候，他们会进行一段长达数页的关于“时间流逝的虚无性”的哲学辩论，但当你回想一下，这两位角色在上一章还是在争论谁该洗碗。这种风格上的突兀切换和对话的刻意为之，使得角色的可信度直线下降。读者需要感觉到人物是在真实地生活和呼吸，他们的语言应该服务于他们的处境和情感。可在这本书里，语言似乎凌驾于一切之上，成为了一个独立的、自我满足的实体。读完这些对话，我没有感到任何情感上的共鸣，只有一种强烈的疏离感，仿佛我在偷听一场精心排练但毫无情感投入的朗诵会。
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