Kubrick’s 2001: A Space Odyssey is a Beacon For a New Decade

Read the following remarks at your own risk.  The post begins one way and finishes in another.

The online film journal Senses of Cinema has an excellent essay by Pedro Blas Gonzalez called Stanley Kubrick’s 2001: An Existential Odyssey.  He examines 2001: A Space Odyssey from an existential viewpoint.  He focuses primarily on astronaut Dave Bowman’s journey in the film toward not only a far-flung physical destination, but also his journey as a human being on a path toward knowledge, an unknown future and ultimate change or evolution.  I’ve always viewed the Bowman character as being exceedingly emotional and noble in spite of the fact that he barely moves a facial muscle or changes his vocal tone.  He seems on the surface to be little more than another machine on board the giant Jupiter-bound space ship.  But he is in fact full of tiny, barely perceptible emotions and concerns that make him perhaps the greatest representative character for the human species in film history.  The Bowman character completes his mission of discovery by surmounting incredible obstacles, included the most powerful example of artificial intelligence ever devised by humankind.  But he does this without ever losing his capacity for anger, despair, love, fear, or wonder.

We’ve lived through what I consider to be the single worst decade in the history of the United States, including the time of the Civil War.  In 2000, the country willfully elected to the presidency the most uneducated, unintelligent, disgusting, drunken, irresponsible, uncaring, warlike, criminal and religious fanatic in its history.  The damage done to our own self-image, to our sense of wonder in the face of the magnificent unknown, to our drive forward technically, scientifically, artistically, and morally, to our own self-respect and our dignity in a world teeming with slavery and murder and starvation – well this damage is going to be exceedingly difficult to repair.  We’ve seen the drive for knowledge turned into something that is suspect, something that religion should argue with and fight at every turn.  This is the legacy of the first decade of the twenty-first century.  The tragic crime committed by half of the population of the United States to elect – twice-over – the closest thing to an authoritarian leader we’ve ever had will not be wiped clean by voting for new candidates.  These awful people are among us.  They work with us in offices, in grocery stores, on farms, selling insurance, selling  cars, investing on Wall Street.  They are all around us and they are waiting to destroy again.  They want us to be dumb and mute.  They want us worshiping in their churches.  They want women to answer to them for how they use their bodies.  They want us to ignore the greatest scientific thoughts ever had and to replace them with tall-tales from an ancient book of children’s stories called The Bible.  It has been my mission over the past year to fight these people and to rid this web site of them (thousands and thousands of them, by the way), and to break their web links by using aggressive and insulting language at every possible turn.  I freely mix children’s stories and games with brutal assaults on this ignorant and dangerous population within our nation.  After 15 years of experience with children’s web sites, I have decided that they are rubbish.  They serve little purpose and make a pretense at wholesomeness and clean language which only does a disservice to our children who must grow up with the strength and knowledge to eradicate the foolishness that has prevailed over the past decade.  I have no concern for who I may insult, including my own authors who may or may not want their content removed because of my strong views.  My candle is a blowtorch and I turn it on barbarians with joy.  The only effective way to fight them is to get excited about discovery and knowledge again –  to do what Star Trek says we should do:

…to explore strange new worlds; to seek out new life and new civilizations; to boldly go where no one has gone before

Yes. We won’t get there by watching imbeciles like James Cameron film tales about white guys invading blue guys.  50-some-year-old adolescents pretending to be great directors don’t give us anything worth knowing.  Artists like Kubrick do.  Films like 2001: A Space Odyssey do.  We need to take this next decade and use it to elevate ourselves beyond and out of reach of the poor lost savages we see around us driving their pick-ups, their SUVs, thumbing through their Bibles and Korans, and going to movies like Avatar.  Let’s try thinking again.  Go rent 2001.  Watch it.  Wonder.  Think.

Stan Brakhage Film: Water For Maya

Stan Brakhage was one the most important experimental filmmakers of the 20th century. He used many techniques to make his films, one of them being direct painting on the film itself. This is one of his pieces from 2000. It is very beautiful and goes through several distinct movements during its short length.  I am going to post some more examples of his films because I think they capture an essential quality of an artist’s happiness that must be very rare.

Film: Revisit November North Five

Here’s a new film for the film fans who happen to stumble by. It’s a film about memory shifts, searching, losing something, trying to find the old image, trying to regain an old feeling or impression, capturing a season of life or the mind. As if one were thinking, “I can almost remember how it was and what we did that day so long ago. Where were we again? North somewhere? It was dark? No, the sun was out… wait, it was cold… I think.

Paris Filmmaker in 1929 Shows Us What a Camera is For

This is an odd post and I’m not entirely sure I can pull it off. The film above is called Montparnasse. It was made in 1929 by Eugene Deslaw.  I watched the film and want to write about it cold, without looking up Mr. Deslaw on Google.  I’ll check up on him after I’ve posted this and see if I’m even in the ballpark.

Watch the film all the way through.  If you think it’s just a collection of boring tourist shots in Paris with nothing happening, then stop reading and leave now because this post is for the four out of one hundred who catch the drift of the camera work.  Deslaw was shooting in the Paris of Pablo Picasso and Matisse.  He appears to have had a close connection to art and the cafe life of the city.  His film is full of odd angles and closeups.  He runs up onto a balcony in order to shoot straight down at some tabletops.  He catches a woman applying makeup at about the 13-minute mark and makes a shot that is worth paying for.  He films traffic and buildings, windows, curbs, chairs, newspapers, smokers, drinkers, snake-handlers, paintings, and water.  He’s fascinated by his city and by his camera.  He’s making art.  He set out one morning with his camera and went around making art.  Everyone was happy to be alive there in Paris in 1929 and he was playing his part in it.  Films made at that time tend to have this cheerful experimental quality.  Deslaw is nearly drawing with his camera.  It’s an immediate act of finding visual meaning.  He was walking and was struck by something and filmed it in an excited state.  He was consciously being an artist.

The film he made is beautiful.  It’s very hard to make a film with its kind of beauty today.  Think about it a little.  What would you do?  Go to a Best Buy and look around for a brand new digital camera.  You know, one of those shiny silver things with the HD viewfinder and all the buttons.  One of those?  Then what?  You’d march out into the neighborhood with this gleaming tourist gizmo and look like a ninny bending over to film trash as it floated down into a storm drain?  You’d walk up to a guy behind a news stand and ask to film him?  Really?

Yes.  That’s what you’d do.  You’d get a little camera and do just that.  And here’s your assignment: you must do this with the total conviction that you are about to make the greatest film ever made about your subject matter.  Set out for a particular street corner and make a magnificent short film or a long one about that corner and everything on it.  Spend an entire day doing only that.  Skip lunch.  Just stay there and make your film without ever entertaining even the slightest doubt that you are working on something of incredible importance and value.  It’s going to be very hard to do.  Some people will walk by and giggle.  Some will become belligerent and tell you to stop.  Film those people.  Run away if they chase you.  Then come back and continue your work.  Remember that you are an artist on a mission to make something and absolutely nothing will stop you.  Then come back home and figure out how to edit it and then put it online.  Tell me about it even and I’ll watch it.

In 1929 it would have been recognized by the maker of this film that a camera is a camera and it will make your film if you want it to.  Ever wonder why you don’t ever see Steven Spielberg out and about with his little camera making a movie for himself?  It’s strange isn’t it?  Could you imagine Pablo Picasso or David Hockney never carrying a sketchbook to make some quick pictures while having coffee or dinner?  I couldn’t imagine such a thing?  So when was the last time you ever heard of a Spielberg or Scorsese out with a camera making little films for their web site?

You could almost think of all the decades of massive budget film production and the studio structures built to support the film industry and film schools as an organized effort to confuse the issue and make people forget what a film actually is.  We think of screenwriters and producers and agents and superstars and all the talk shows.  But it’s very hard for the artist to walk out with the camera and go make a film the way a painter would work alone on a canvas.  The Montparnasse film should help to illuminate the proper use of the camera for anyone who’s interested.

The film comes from UBUWeb

Film: The Wild

This film was made by Franck Deron.  On his blog he says that he filmed it without a lens, using a pinhole through some aluminum foil.  I’m not exactly sure what that means.  I’d be curious to know more about exactly how he set that up.  But I like the results.  It’s a mysterious and moving film.  I watched it with total absorption and the blurry glowing camera work reminds me of old super 8 movie cameras. The director has quite an accomplished list of films he’s made as music videos and promo spots.  They are very well shot and edited.  But I always like a director’s more personal films, made with no other client in mind than his or her own demanding internal artist.  This is just such a film.

I found this on a beautiful web site called The Rumpus.