La projection : A chacun son film... (Les mots de la psychanalyse) (French Edition)

La projection (Les mots de la psychanalyse) (French Edition)
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A comprehensive page booklet in French and English accompanies the disc, providing full details of the texts used in the work, as well as an analysis of the thinking behind its composition.

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This makes for a fascinating read of itself. All in all, I would say that no-one can afford to be without this release. So, then, what are you waiting for? The piece unfolds over 13 parts. Words and acousmatic sound events are closely intertwined, stemming a number of levels of interpretation that insures hundreds of fascinating listening experiences. Such richness and poetry had never been achieved before in a genre too often categorized as academic. There is nothing dry or affected here. The sound treatments, which swim, seethe and melt in unpredictable glisssandi, have an opaque, metallic timbre, somewhat cold, otherly and nauseating, never quite outrightly beautiful, never relaxing into a soothing ambiance.

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The very disconcerting perspective is as if one were a pyschoanalyst eavesdropping on the irrational dreaming mind of humanity healing itself from a world of private and tribal fears. A headfull for the extremely adventurous. Those appatrently innocent stories that bathed our childhood are really trees that hide from us the mysterious roots of the forest the deep roots of the soul that Francis Dhomont probes in his psychoanalytical reading of fairy tales.

This composition superimposes a rich counterpoint of voices, texts, and languages.

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Vendredi 19 Janvier Everything resumes to fill the blank with what has already been made…. En tenant compte de ce que dit la Loi. A Rejeter s 58 Nuit au Moulin Rouge. Rencontre Afrodescendants. La prison fabrique des loques humaines. A Rejeter 5 63 Paris, je t'aime.

At the heart of its gripping sonic material, alternatively mysterious or reassuring, like a fairy tale, we hear the thirteen episodes march by, keeping us spellbound. Thus, the archetype of comforting and appeasement, suggested by tender lullabies, is brusquely broken by the tragic and anguished character of unstable sonic morphologies. Like the fairy tales themselves, this piece enchants and bewitches ; certain enigmatic passages show to what extent the art of sounds is able to explain the unexplainable.

If these tow works from a diptych, it is because deep in each forest there burns a black sun. If it was Messageros Killers Boys that made the fantastic sonic experience very close to a drug experience session , in here we get Throbbing Gristle and Cabaret Voltaire, among others, setting an hallucinogenic stance for celluloid. Ettore loses his mind and decides to inform to the press about the gladiator business.

He seems to be unaffected by repression, even when cracking down, as if the punk spirit that dwells within has consumed him entirely: Pure detachment, no deliverance, eternal damnation, while gladiators perform dance rituals and a journalist runs away in a car chase scene dripping down from the fountains of film noir, a futuristic noir, the Alphaville of punk. Intense yellowish and green colors open the palette of black and white for expressive means.

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In Ossang, the color is elemental in dividing universes of conscience and time. This method is recurrent in Dharma Guns , which gives the setting for an exploration of two parallel universes unfolding together. A tribute to silent cinema more precisely German expressionism is to be found in the closing of the camera iris, not just as a romantic tribute but also as a way of reinvent the genre: Ossang uses the iris without discretion, as a plastic element, as an emphasis of emotion, but overall, as an extension of the eye which focuses on the elemental.

The camera as the human eye, as the extension of the body. A film about drugs, about the representation of the female as an object of desire, a catastrophic post-atomic nightmare, a trip into the guts of the underworld, of an island that signifies their doom, the Bitch , the woman, the perdition of men. A film about intrigue and treachery, about desolation and desperation, charged with static electricity in every moment, a delirious ride into oblivion, a trip of five men led by a contemporary Ulysses which carries the same name and driven by blind ambition into an island that is doomed with catastrophe.

A film about a mega corporation.

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La projection a chacun son film les mots de la psychanalyse french edition Ebooks. Urbest nr stand vom stylus color colourbest nr stand vom. E potrero. (French) Paperback – 7 May La projection: A chacun son film. Start reading Le surmoi (Les mots de la psychanalyse) (French Edition) on your Kindle .

A tarkovskian sci-fi film on speed. The final check mate comes when king and queen disappear into the rocky landscape. The strategy was unimportant, since The Bitches claimed their victims as Cerberus did in the gates of hell. The soundtrack by Messageros Killer Boys deserves an analysis of its own: Welcome to the Bitch Island s beats hard with industrial repetition, as if a violent and old train was coming to greet the new inhabitants of hell.

From them on, drones and industrial rhythms are our musical Virgil into the seven circles of hell, with the majestic Steppes De La Grande Chienne on full synthesizer glory and Le Chant Des Hyenes closing the film with the whole ensemble on board, a thing that happens also in the magnificent, recitative Soleil Trahi , a screen for Ossang magnificent poetry. It is impossible to imagine Bitch Islands without its soundtrack, which is without a doubt, one of the essential ones in the history of cinema and music. A rockabilly legend portrayed by a punk legend. Docteur Chance is also an orphic journey: the snake biting the ankle of the dame in distress.

A girl and a gun. This is a manifestation of an obscure romanticism, and Ossang is a punk romantic, a decadent romantic who merges with the shadows.

Here, the conflictive nature of the relationship of both leads plays like a dance with death, a reconfiguration of noir codes, in dialogue, narrative and intention. How does the film become a Road Movie by configuration? When lovers are expelled from its territory, the personal journey begins: This abstraction of the path becomes parallel with the inner journey of its characters.

Thus the setting the desert plays an effective analogy for the psychological desolation, the desperation of the travel. Coincidentally or not lovers are devoured by the sea in Dharma Guns. The earth has its way of claiming back what belongs to her, no matter the element. Coming back to Strummer, the effectiveness of his performance lies in the fact that Strummer had just to be Strummer to make things work: A power of nature, a punk icon, he makes his presence in the last part of the movie a pivotal one for the film: He is part friend, part savior, part underground anti-establishment fighter.

This makes a fantastic contrast with Marissa Paredes character, which lands a memorable role as Elise von Sekt, Angstel mother. Paredes is the antithesis of Strummer, a burgoise woman, art collector, millionaire, the figure of power that has to get knocked down: Tectonic plates colliding, an earthquake of sorts, shaking of the bodies, of the landscape, poetry in a Richter scale.

This territorial trilogy starts with Silencio , scored by Throbbing Gristle, a nuclear apocalypse experimental short of monoliths, a journey through a vast landscape, a road movie of sorts. A masterpiece of a short, Silencio marks both an end and a beginning.

Openly experimental, it owes much of its pulse to expressionism and silent cinema maybe even more than his other films. A voyage, a death, a contemplation of disjointed fragments, Vladivostok! The earth is frozen, the hearts are frozen and again, the setting conveys an analogy of human emotion. The questions of what is behind death, and beyond consciousness merge. A magnificent opening shot switches color to black and white and traces the line between two open universes.

Is she also a clone of Professor Starkov cruel experiment? Clues are again in the chromatic spectrum: colored flashbacks of life past and a black and white odyssey into the inferno, oneiric sequences of a daydream fever.

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In that matter, they are all victims of fate, uncharted heroes, mythical beings whose fate is set, who revolt against the inevitable. Why cineastes, to what end in this time of withdrawal? But this tongue is contaminated; it loses itself on amends in abstraction, still far to find the tricks necessary for the eyesight, the vision. United States, 3. All rights reserved. The island appears as this great woman who devours each team member and the story finally comes to an end with the death of the female character, or her disappearance in a vacant lot.

How did you establish these relations between open and closed spaces, between men and the female character the island, the woman between the climate and the road to extinction? Self over-interpretation is always bad! He said that at the end of a career, of course, having never engaged in this dangerous operation himself.

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Which has become an inner adventure movie. And this kind of fantastic minimalism which is still at work…. And in the mean time Pachamama, as the Indians call the Mother sometimes, Mother Earth, which is also found in the Babylonian legends, coming after Leviathan. At first there is the female principle, unanimous, then Marduk appears, the male principle, and gets in conflict with Tiamat.

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Single combat, and from there emerges the differentiated universe. And then, in my youth, I was very influenced by all those metallurgist mythologies. There is a very fine book by Mircea Eliade called The Forge and the Crucible where he speaks of the two principles of stone: a male stone, which is hard and surfaced and a female stone, soft and… Well all this was a little bit confused…. Finally, the film describes pretty finely something that is, unpretentiously, a kind of conquest of the negative, which seems to be to me the sign of the times.

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The more they move, the more the expedition moves forward in its conquest, the more it is divided, dented… Which is a little like our own history! At least the history of the West that the more it moves forward… No more food, no more capital… The Earth… Panic on board! Time discrepancies, as they happen in life, some of those accelerations. And the sleep, haunted, watching out…. I shot the film in the Azores, where Paul Branco, the producer, especially did not want me to go.