Friday, May 25, 2007


I found a book called FRAGMENTS: INCOMPLETION & DISCONTINUITY, which was published by NEW YORK LITERARY FORUM in 1981, and edited by Lawrence D. Kritzman and Jeanine Parisier Plottel.

One great thing about this book is that it has an article called A CONVERSATION WITH ROBBE-GRILLET by Tom Bishop.

This book is available via You can buy it from the link below:

Below is an excerpt from that article from page 294:

"Robbe-Grillet: Since the time when these books (Sartre's LA NAUSEE and Camus' L'ETRANGER) were written, the whole modern period, the "new novel"and the new "new novel" in particular, have leaned in this direction. It is not all by chance that I was able to work with Rauschenberg or with Jasper Johns; it is because all their works are an assemblage of pieces.

Tom Bishop: Which imply the impossibility of finishing them, not the lack of will, but the lack of desire to finish them.

R-G: The desire to prevent them from being finished. That is to say, a sort of system pf aporia as opposed to the function of completion that the reader always tends to seek out. How does one achieve this? Well, by putting together fragments that are incompatible. As long as the fragments are compatible among themselves, the gaps can be filled in by the reader. But then the aspiration to incompleteness no longer operates since the reader can introduce his entire metaphysical system into this gap and consequently rearrange the pieces to form a system of completion.

TB: Isn't this already at play in the surrealist image? The putiing together of incompatible images?

R-G: Yes, it does come into play the surrealist image, but it is a little different. It is more an appeal to a new sense that has not yet been perceived and of which one will suddenly become aware if two objects are juxtaposed that do not belong together. The shock of seeing them together creates a kind of opening onto potential meaning. My own present experiments, for example, stem from these two tendencies. On the one hand LA NUASEE and L'ETRANGER, and on the other, surrealism; I recognize this double paternity. And so incompatible fragments may be two versions of a same piece, as when in a story for which one has been given almost all the pieces, there is one piece too many that may be a new version of one of the pieces one has already been given. In this case, the fragment is a fragment in the modern sense; an object that is not in any way a symbol of the totality of the world but which appears itself as impossible to be linked to anything else. It works by virtue of its presence rather than through a meaning. It is very interesting to see that this presence is felt all the more strongly as the meaning is increasingly effaced or minimized."

Reading the excerpt above reminds me of something in LA BELLE CAPTIVE (1983, Alain Robbe-Grillet, A+). So for anyone who worships Alain Robbe-Grillet like me and my friends, maybe you should search for this book in a library or buy it. I think this is a really interesting book. Apart from Robbe-Grillet, this book also has articles on Rabelais, Diderot, Baudelaire, Breton, Borges, Novalis, Barthelme, Lacan, La Rochefoucauld, Nietzsche, Poststructuralism, Rohmer, Resnais, Marguerite Duras, and Jasper Johns.

--SIGHT AND SOUND: ISSUE JUNE 2007 also has an article on





--Girish Shambu's blog

Thanks Girish, for the link to Fujiwara-Roberts conversation. I have gained a lot of interesting information from reading it, especially when they talked about Rivette and Ruiz. I have no knowledge in film noir, but am very interested in it. I think I have seen no more than five film noirs so far. I still have a lot to learn about this.

Some of my thoughts about film noir:

--Thai cinema has at least one film intentionally made in film noir style. It is THE DUMB DIE FAST THE SMART DIE SLOW (1991, Manop Udomdej, A-). I think it is quite well-made compared to other Thai films.

--Though I like MINORITY REPORT, I also like what Toni Schlesinger wrote about this film in It is in an article called MINORITY RETORTS, which appeared on the issue of July 3-9, 2002:

"Doesn't Mr. Spielberg know that you have to be born noir—the world's at an angle, no one can be trusted, especially your parents. Noir isn't something you can just learn. It comes from having a terrible childhood—like mine (my mother was a drug addict!)—or Philip Dick, whose mother moved them around because they didn't have any money and then there were all those cats. Though I suppose a person could become noir in adulthood from a war or massive depression. But anyway, does Mr. Spielberg think that by using a bleach bypass and getting rid of blue skies that abracadabra—everything's going to be noir?"

--Tony Rayns wrote in TIME OUT FILM GUIDE in the review of PORT OF SHADOWS(1938, Marcel Carne) that the French had their own film noirs. He also mentions PORT OF SHADOWS and PEPE LE MOKO (1936, Julien Duvivier) as examples. I haven't seen these two films, but I like one French film from 1940's because of its gloomy atmosphere: SUCH A PRETTY LITTLE BEACH (1948, Yves Allegret), starring Gerard Philipe and shot by Henri Alekan. I don't know if it can be called noir or not, but I just wish I could see it again.

--Is there any film noir, or any film, in which the heroine is lured into crime or deception by a male character? I think I'd like to see this kind of films because I really like HOUSE OF GAMES (1987, David Mamet), a con film in which Joe Mantegna lured Lindsay Crouse into some kind of deception.

--I wished I had had much more knowledge in film noir when I saw A PLACE AMONG THE LIVING (2003, Raoul Ruiz), which I guess might be some kind of mocking on film noir conventions. I like A PLACE AMONG THE LIVING very much, but I think I'm far from understanding the real greatness of this Ruiz film. Watching A PLACE AMONG THE LIVING with no knowledge of film noir made me feel as if I watched SCARY MOVIE without prior knowledge of SCREAM.

--Coincidentally, I just saw two films which are far from film noir but have noirish characters: A PRAIRIE HOME COMPANION with the character of Kevin Kline, and LA BELLE CAPTIVE, a labyrinthine vampire film?, in which its hero looks very much like a detective in film noir.



สวัสดีทุกๆคนค่ะ วันนี้ขอตอบอย่างสั้นๆก่อนแล้วกันนะคะ

โปรแกรมหนังฝรั่งเศสในเทศกาลออกมาแล้ว ดูได้ที่ลิงค์นี้ค่ะ

ตอบคุณ TEELEX

ชอบ PROTEGE (A+) มากๆค่ะ ฉากของตำรวจที่หวังเลื่อนขั้นเป็นฉากที่ให้อารมณ์รุนแรงมากๆ รู้สึกชอบหนังเรื่องนี้มากกว่า TRAFFIC ของ STEVEN SODERBERGH อีก รู้สึกว่าไอเดียของโซเดอร์เบิร์กห์ในการนำเสนอปัญหายาเสพติดอาจจะน่าสนใจดี แต่ PROTEGE เป็นหนังที่ให้อารมณ์ร่วมต่อตัวดิฉันสูงกว่า

รู้สึกชอบนางเอกหนังเรื่องนี้มากๆเลยค่ะ เธอเล่นได้ถูกใจมาก ชอบการถ่ายภาพห้องเช่าของนางเอกด้วย โดยเฉพาะในฉากเปิดเรื่อง รู้สึกว่ามันมีบางอย่างแปลกๆ แต่บอกไม่ถูกว่ามันคืออะไร เพราะดิฉันไม่มีความรู้เรื่องกล้องหรือการถ่ายภาพ ไม่แน่ใจว่าฉากเปิดมันถ่ายด้วยเลนส์อะไรที่ผิดปกติหรือเปล่า เพราะมันมีระดับ "คมชัดลึก" บางอย่างที่ดูเหมือนไม่ค่อยเห็นในหนังเรื่องอื่นๆหรือในฉากอื่นๆ หรือบางทีอาจจะเป็นเพราะ "กระจก" ในห้องนั้น หรือเป็นเพราะการจัดแสงในห้องนั้น ดิฉันเองก็ค่อยไม่แน่ใจเหมือนกัน

ตอบคุณ pc

ได้เข้าไปฟังเพลงของ BARRY GRAY ใน MYSPACE ของ LES AMBASSADEURS แล้วค่ะ เพลงคุ้นมากๆจริงๆ โดยใน MYSPACE ของพวกเขา จะมีขึ้นบอกเอาไว้ข้างๆชื่อศิลปินอยู่แล้วค่ะว่าเพลงนี้เป็น THEME FROM SPACE: 1999

ดิฉันลองเข้าไปค้นดูใน IMDB.COM พบว่า SPACE:1999 เป็นละครทีวีในปี 1975-1977 ดิฉันจำไม่ได้ว่าเคยดูละครทีวีเรื่องนี้หรือเปล่า แต่เพลงๆนี้มันคุ้นหูมากๆ จนทำให้ดิฉันคิดว่าตัวเองน่าจะเคยดูละครทีวีเรื่องนี้แล้วอย่างแน่นอน

รายละเอียดเกี่ยวกับ SPACE:1999 ที่นำแสดงโดย MARTIN LANDAU


“In 1999, Moonbase Alpha, nestled in the Lunar crater Plato, is a scientific research colony and watchdog over silos of atomic waste from Earth stored on the Moon's far side. On September 13, 1999, magnetic energy builds to cause an explosive chain-reaction of the waste, blasting the Moon out of Earth orbit and off the plane of the ecliptic, out of the Solar System. The inhabitants of Moonbase Alpha are unable to return to Earth and must survive on their wandering Moon as it is displaced further into unknown space by freak space warps. Along the way, they are joined by an alien woman with the ability to change herself into any living creature at will. Written by

ดีวีดีละครทีวีเรื่องนี้มีขายแล้วใน AMAZON.COM ประกอบด้วยแผ่นทั้งหมด 17 แผ่น และมีความยาว 2496 นาที หรือ 41 ชั่วโมงกว่า



เหมาะสำหรับคนที่ชอบเพลงผู้หญิงร้องหวานๆช้าๆอย่าง STINA NORDENSTAM หรือ MAZZY STAR


In his myspace page, there are samples of his ten tracks to listen to.

Gui Boratto is a Brazillian producer. He just had a debut album called CHROMOPHOBIA. MIXMAG magazine labeled this album as ALBUM OF THE MONTH.


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