The film has written and spoken dialogue in twenty-five languages-English, French, Japanese, Mandarin, Cantonese, Vietnamese, Latin, Hebrew, necrotic Egyptian ... and it has written calligraphic text on paper, wood, and flesh, on flat and curved surfaces, vertically and horizontally, on both living and dead flesh, in neon, on screens, in projection, as sub-title, inter-title, and sur-title, as High Art and low art, as advertisement and banker's check and registration plate, on photograph, on blackboard, as letter correspondence, as photocopy facsimile, and spoken, chanted, and sung, with and without music ... a mocking challenge. You want text? Cinema wants text? Cinema pretends to eschew text? Then we can give you text to mock that smug suggestion that cinema thinks it is pictures.
Peter GreenawayRelated topics
art blackboard correspondence dead egyptian facsimile film flesh french high latin letter living low mandarin music paper photograph plate projection registration sing speak suggestion text wood write Vietnamese neon cinemaRelated quotes
But let us not speak anymore of books and theories on paper. Now then, did you see my exhibition? As you may remember, 1 gathered in 'Cahiers d'Art' ten very recent paintings, twenty-five gouaches and watercolors, also recent, and twenty-eight drawings that span the period from 1910-1934. In the majority of the compositions on canvas I used a sand technique more or less consistently.... but I usually don't distinguish between traditional oil painting, gouache, tempera and watercolor, and I even simultaneously use the various techniques in the same work. What is essential for me is to be able to clearly convey what I want, to recount my dream. / consider both technique and form to be mere instruments of expression, and my stories, furthermore, are not narrative or historical in character, but purely pictorial.
Wassily Kandinsky
The image that creates this thinking gives rise to a feeling of evidence and a conviction that it is not based on reason. This kind of thinking explains the reaction we so often note among our contemporaries: when someone asks them to give the reason for their opinions, they answer: "It's evident." This thinking, which creates prejudices and stereotypes, is the domain of the unquestionable. Obviously you cannot dispute with an image, and you cannot challenge the hero of a film. But this extends to the mental images produced by the film: there is no criticism or debate possible, because these involve differing methods of thought. What produces immediate assent cannot bear the discussion process. The conviction acquired in this way can only be attacked on its own ground: by other images.
Jacques Ellul
I was like a gravedigger while I painted these corpses [of the dead Baader-Meinhoff members]. It was just work. If I felt one of them looked too theatrical, I painted over it... I was afraid more of the reaction on the left than the right. It was still very dangerous to deal with this subject in Germany. There was fear that the museum where I showed them might be bombed. All my friends were on the left, but I was not. They said: 'Someone with the right mentality could do this, but not Richter - he is too bourgeois. He steals Baader-Meinhof away from us.' To me, they were part of the problem. I was standing outside watching how people, on both sides [left / right], ignored the truth because of their beliefs, beliefs that made them crazy. That was the point of the pictures.
Gerhard Richter
As absurd as it might sound, there's a strange synergy between very bad movies and very good ones. That's because films on either extreme of the quality scale have the ability to burrow deep into the subconscious, with unpredictable and occasionally remarkable results. Great works of art can cause euphoria, touch a deep emotional chord, or, in rare cases, affect fundamental changes in a person's outlook on life. Conversely, viewing unwatchable tripe can be damaging, possibly resulting in psychotic episodes, an appreciation of '70s fashion, or leaping to the defense of Pauly Shore. There's something almost profound about enduring a horrifically inept piece of cinema, and Coyote Ugly, living up to every letter in its name, offers the opportunity for such an experience.
James Berardinelli
Words are not deeds. In published poems - we think first of Eliot's "Jew", words edge closer to deeds. In Céline's anti-Semitic textbooks, words get as close to deeds as words can well get. Blood libels scrawled on front doors are deed.
In a correspondence, words are hardly even words. They are soundless cries and whispers, "gouts of bile," as Larkin characterized his political opinions, ways of saying, "Gloomy old sod, aren't I?" Or more simply, "Grrr."
Correspondences are self-dramatizations. Above all, a word in a letter is never your last word on any subject. There was no public side to Larkin's prejudices, and nothing that could be construed as a racist - the word suggest a system of thought, rather than an absence of thought, which would be closer to the reality, closer to the jolts and twitches of self response.
Martin Amis