Auf Schicksalspfaden im Wilden Westen – All’ombra di una colt (1965)

The animal dies with fear in his eyes
With a gun
Don’t touch him, don’t touch him
Stay away from him, he’s got a gun

(Lou Reed – The Gun)

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Liebestraum (1991)

„Not really now any more. Is there, then, no now because the past has consumed the present, reduced it to a series of compulsive repetitions, and what seemed to be new, what seemed to be now, is only the playing out of some out-of-time pattern?”
(Mark Fisher, The Weird and the Eerie)
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Jeder Film ist ein Kunstwerk

    Alexander Horwath:  But that also allows our “opponents”, in a way, to say we have the same ends as you do, we just have different means. There are a number of people who say, “We have the same ends. We just think that going actively into digital, showing films digitally, is another means to achieve the same ends.” That, I think I’ve realized in a few years, is also one of the problems. You rarely find people you speak with who state very different ends. They mostly agree with you immediately on the ends, but there are variants in how to go about it…

    David Francis:  In that case the end is purely “content”. Our end is different. The trouble is that to the uninitiated the ends seem the same. This is why we have to make the distinction very clear. The end is the protection of the creator of an artistic work.

   Paolo Cherchi Usai:  And the protection of the way in which it was experienced.

   Michael Loebenstein:  I would even extend it to non-artistic works like newsreels.

   David Francis:  Oh yes, you should. Well, I think the answer is, we’re saying all film is artistic. The straightforward act of putting your camera up, going away, and letting it run…

   Alexander Horwath:  …is an aesthetic act.

Aus: Film Curatorship. Archives, Museums, and the Digital Marketplace. Wien 2008

Éric Rohmer – Zelluloid und Marmor

„Kritik ist eine Sache der Jugend, sie verlangt Ungestüm und freie Zeit.“
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