In a globalized world it is imperative that we begin to develop a broader awareness of the interconnected cultures and societies that influence and shape world events. Anyone remotely aware of the American social landscape must recognize that many of our citizens are unaware of the broader relations and connections of the world in which they live in. Many Americans tend to have a narrow understanding of world history, filtered as it is through ethnocentric American textbooks and mediatized narratives filtered through the lenses of the dominant center, which effectively ignores the realities of the margins (culturally, economically and socially). Many concerned citizens struggle to carve out meaning in the contemporary data stream and suffer the neglect of a mainstream media that limits itself to predigested dualistic positions. In this simplified media environment, vast regions of the world are presumed to be unable to speak for themselves and rarely, in the mainstream corporate media that serves as the news for a majority of American citizens, do we receive sustained and in-depth critical analysis of issues through the voices and experiences of multiple interested parties.
--Michael Benton, 2006
"The most strongly enforced of all known taboos is the taboo against knowing who or what you really are behind the mask of your apparently separate, independent, and isolated egos."
-- Alan Watts, The Book on the Taboo Against Knowing Who You Are (1966)
What are “thoughts,” and what are “things”? and how are they connected?… Is there a common stuff out of which all facts are made?… Which is the most real kind of reality? What binds all things into one universe?
-- Terrence Malick's The Tree of Life (2011)
"The only performance that makes it, that makes it all the way, is the one that achieves madness."
-- Turner in the film Performance
Midway upon the journey of our life
I found myself within a forest dark,
For the straightforward path had been lost.
--Dante Alighieri, Divine Comedy: Inferno, Song 1
Anyone who believes that every individual film must present a "balanced" picture, knows nothing about either balance or pictures.
--Edward R. Murrow
Democracy is a great conversation, a community defined by the scope and substance of its discourse.
--James David Barber
"Believing is seeing and not the other way around."
"There are in fact no masses; there are only ways of seeing people as masses.”
"Art and humanities research begins with a desire to understand the human condition."
Film matters because film is us. We as a society use the filmic form to tell stories about who we are and our society - they are a record of what makes us human and what concerns us in the everyday. ... The film form, narrative and styles with which we are so familiar, from Hollywood blockbusters to the avant-garde, shape our own personal narratives. Film offers us a language to speak to each other across national, class, economic, and racial lines - film is a phenomenon that allows us to understand cultures and people.
Until lions have their own historians, histories of the hunt will glorify the hunter.
-- African proverb
"So you lie to yourself to be happy. There's nothing wrong with that. We all do it."
--Teddy in Memento (2000)
My films are intended as polemical statements against the American ‘barrel down’ cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.
-– Michael Haneke, “Film as Catharsis”
The question isn’t “how do I show violence?” but rather “how do I show the spectator his position vis-à-vis violence and its representation?”
-– Michael Haneke
As a scholar of transnational/eco-critical cinema, it is increasingly clear to me that cinema is one of the most efficient ways to debate political and cultural issues in a global society. This is especially the case with cinema's potential to visually capture the transnational and even global scale of ecological problems, and engage with them in a way that reaches wide global audiences. Cinema is not only a communicator of ideas and an essential component of the culture industries. It is also a crucial pedagogical tool that facilitates efficient learning and motivates participation from new generations of audiences. It can help audiences, 'old' and 'new', to rethink their place in the world, and crucially, it can also motivate them to do something about the injustices and exploitation to which they are witness.
Openness exists . . .not only for the person to whom one listens, but rather anyone who listens is fundamentally open. Without this kind of openness to one another there is no genuine human relationship. Belonging together always also means being able to listen to one another.
--Hans-Georg Gadamer Truth and Method (Source)
Our human existence is rooted in sex. .... It lies at the very heart of love. Though conservatives reject the very idea as dangerous, I would say that the way to save us from our own perversity is by confronting sex courageously. ... Sex brings relief from tension and enmity and leads to harmony in human relationships--husband and wife, [friends] and strangers. (109)
Kaneto Shindō, qouted in McDonald, Keiko. "Eros, Politics, and Folk Religion: Kaneto Shindō's Onobaba (1963)." Reading a Japanese Film: Cinema in Context. Honolulu: University of Hawai'i Press, 2006: 108-121.
‘We do not remember, we rewrite memory much as history is rewritten’
Narrator of Chris Marker's film Sans Soleil (1983)
"The tradition of the oppressed teaches us that the ‘emergency situation’ in which we live is not the exception, but the rule.”
--Walter Benjamin, Theses on the Philosophy of History
"What is focus, and who has the right to say what is legitimate focus?
-- Julie Margaret Cameron, late 19th Century Photographer
"Death is never the end of the story, it always leave tracks."
-- Notary Jean Label in Incendies (2010)
"We do not grow absolutely, chronologically. We grow sometimes in one dimension, and not in another; unevenly. We grow partially. We are relative. We are mature in one realm, childish in another. The past, present, and future mingle and pull us backward, forward, or fix us in the present. We are made up of layers, cells, constellations."
-- Anaïs Nin, The Diary of Anaïs Nin Vol. 4 (1971)
"Power fears poetry... Poetry resides somewhere else, somewhere inaccessible to power; it evokes sentiments, touches being, and speaks in a strange tongue." (163)
--Andy Merrifield, Magical Marxism: Subversive Politics and the Imagination (2011)
"Like religion, a good movie really does answer the only three questions worth asking in life: who you are, where you come from, and what you should do. In its essential narrative arc, a movie gives you clues as to your ultimate identity, the nature of how the world really is, and your mission in life. And if you learn the basics of screenplay writing, you discover very quickly that almost every film script follows a dramatic formula identical to the formula of the standard religious sermon. In the screenplay, the writer’s task is to create an emotionally sympathetic character who is nevertheless guilty of some form of misbehavior, who then must, through an escalating series of forced crises, confront his or her misbehavior and overcome it. Likewise, in your standard sermon, the preacher’s art is to describe, through personal, historical, and anecdotal evidence, the universal sin (read: misbehavior) of the human species, and how God alone can solve this basic problem, and happily, how he does. Both sermons and movies (in America at least) thus, have the same theological bias that favors a happy ending."
--Read Mercer Schuchardt, "Cinema: The New Cathedral of Hollywood" (2001)
Unlike other forms of artistic expression, cinema is an "industrial form of art": in order to express itself fully, it needs ever-greater financial investments. This means that the author's artistic expression is conditioned right from the start--and it would be hypocritical not to admit this--by the capital invested. These capital sources can be motivated not just by the simple and legitimate desire for expression, but also by power groups, concentrations and lobbies of all sorts and backgrounds, who can use cinematographic media in instrumental way to advance particular interests that that have little or nothing to do with the noble--and general--principle of the freedom of expression.
--Vittorio Giacci, "Cinema, Responsibility, and Formation" (2007)
In the end, confusion is not a lack of understanding. It's more understanding. Mainstream reporting and some people in power want to make everything clear to people--at the expense of the very issues and people they deal with. They can't. If it's complicated. leave it as complicated. Give people a chance to think.
--Kal Kim-Gibson, "Dreamland and Disillusion." (Film Quarterly: Fall 2011)
Film is often just business -- I understand that and it's not something I concern myself with. But if film aspires to be part of culture, it should do the things great literature, music and art do: elevate the spirit, help us understand ourselves and the world around us and give people the feeling they are not alone…
--Krzysztof Kieslowski, "Kieslowski’s Three Colors." (Salon: June 10, 2002)
"When a morally compromised author claims the field of aesthetics as a value-free area it should make his readers stop and think."
--W.G. Sebald, On the Natural History of Destruction (1997)
“In an age when reality is insufficiently real, how much reality can a fictional story possess?”
-- Haruki Murakami (2011)
"In most cases, it is virtually impossible to grasp a truth in its original form and depict it accurately. This is why we try to grab its tail by luring the truth from its hiding place, transferring it to a fictional location, and replacing it with a fictional form."
-- Haruki Murakami (2011)
"I think the whole point of OWS is encouraging people to reinvent democracy from different angles and from their own terms," he says. "On one hand, it's a very communal project and on the other hand, it's about individuals who are not necessarily in agreement finding ways to see things anew."
-- Chris Marker, quoted in Steve Dollar's Occupy This (2012)
2000: Joint Security Area (South Korea: Chan-wook Park, 2000: 110 mins)
2002: Demonlover (France: Olivier Assayas, 2002: 129 mins)
2004: Head On (Germany/Turkey: Fatih Akin, 2004: 121 mins)
2004: Moolaadé (Senegal/France/Burkina Faso/Cameroon/Morocco/Tunisia: Ousmane Sembene, 2004: 124 mins)
2005: The Method (Argentina/Spain/Italy: Marcelo Piñeyro, 2005: 115 mins)
2006: Fast Food Nation (UK/USA: Richard Linklater, 2006: 116 mins)
2006: Shortbus (USA: John Cameron Mitchell, 2006: 101 mins)
2008: Gomorrah (Italy: Matteo Garrone, 2008: 137 mins)
2008: Hunger (Ireland/UK: Steve McQueen, 2008: 96 mins)
2008: The Wave (Germany: Dennis Gansel, 2008: 107 mins)
2009: White Material (France/Cameroon: Claire Denis, 2009: 106 mins)
2010: Even the Rain (Spain/Mexico/France: Icíar Bollaín, 2010: 103 mins)
2010: Incendies (Canada/France: Denis Villeneuve, 2010: 130 mins)
2011: The Skin I Live In (Spain: Pedro Almodovar, 2011: 117 mins)
2011: A Separation (Iran: Asghar Farhadi, 2011: 123 mins)