Babe,

Abriu hoje

A FYODOR BOOKS

Livros a 3/5€

"Shotgun stories" de Jeff Nichols, 2007

Legacy

Our memories are quite similar
but pickled alive
in a poison which

accompanies objects too
as a part of this emptiness

The heartning message
that Pythagoras once
would listen to the stars
barely comes down to us now

Then let us hope
our children are learning
to dance in the dark

W. G. Sebald, de "School Latin", Across the Land and Water, Ian Galbraith (trad.) Everyman, New York, 2013.

V. Perdu dans ces filaments

But the certitude nonetheless
That a human heart
Can be crushed - Eli Eli
The choice between Talmud and Torah
Is hard and there is no relying
On Bleston's libraries
Where for years now I have sought
With my hands and eyes the displaced
Books which so they say Mr. Dewey's
International classification system
With all its numbers still cannot record
A World Bibliography of Bibliographies
On ne doit plus dormir says Pascal
A revision of all books at the core
Of the volcano has been long overdue
In this cave within a cave
No glance back to the future survives
Reading star-signs in winter one must
Cut from pollard willows on snowless fields
Flutes of death for Bleston

W. G. Sebald, de "Poemtrees", Across the Land and Water, Ian Galbraith (trad.) Everyman, New York, 2013

Joshua Oppenheimer, sobre "The act of killing"

Timetable

Grown sheepish
by morning I study
the grounds of my coffee

At midday I cut
a slice for myself
from the hollow pumpkin of summer

And not until dark do I risk again
the Cretan trick
of leaping between the horns

W. G. Sebald, Across the Land and Water: Selected Poems, 1964-2001, Ian Galbraith (trad.), Modern Library, New York, 2013.

"Feral" de Daniel Sousa, 2013

"Wittgenstein" de Derek Jarman, 1993

O Angelopoulos Faz Filmes Parados

I've always been irritated by the way that montage is such an artificial process, dictated by a cinema of efficacy. For example, a man enters, stops, and waits. In the cinema of efficacy this waiting is conveyed through montage, whereas in my work there is no montage — the scene exists in a time scale which is not reduced for the sake of efficacy. There is a material, concrete sense of time; real time, not evoked time. In my films "dead time" is built in, scripted, intended. Just as music is a conjunction of sound and silence, "dead time" in my films is musical, rhythmic — but not the rhythm of American films, where time is always cinematic time. In my films the spectator is not drawn in by artificial means, he remains inside and outside at the same time, with the opportunity of passing judgement. The pauses, the "dead time," give him the chance not only to assess the film rationally, but also to create, or complete, the different meanings of a sequence.

Theo Angelopoulos. in Theo Angelopoulos: Interviews (Entrevista de 1980 por Tony Mitchell). Dan Fainaru (ed.) University Press of Mississippi (2001)