Tuesday, September 03, 2013

Marathon Film Festival Game Part 5


Marathon Film Festival Game Part 5 (continued from the link below)
http://celinejulie.blogspot.com/2011/11/marathon-film-festival-game-part-4.html

 

26. Serge Daney wrote “The voice-over is the focal point of all power, all arbitrariness, all omission. In this respect, there is little difference between Marguerite Duras’s 1975 India Song, the documentary about sardines, a Situationist film, and the Chinese propaganda film on which it is based: the contract with the viewer (seduction, pedagogy, demagogy) depends on coercion of the image. The potential here for the exercise of power is unlimited. The only way to escape from this vicious circle is for the voice-over to take a risk, and to do so as voice: either by multiplication (not once voice but many voices, not one certitude but many enigmas) or, even more, by singularization. And the way to escape from the politics of the auteurs is through a “politics of voices, inimitable voices (Godard, Duras and, for some time now, Bresson). Radio takes is revenge on film, Dziga Vertov on Sergei Eisentstein, the simple voice on the constructed dialogue, and the feminine on the
 masculine.”


 

Discuss, compare, and contrast the use of voiceover, voices, and the relationships between sound and images in the following films:

 

26.1 LA DOUBLE VIE DE MANIEJAN (2013, Ratchapoom Boonbunchachoke, 30min)


 

26.2 INDIA SONG (1975, Marguerite Duras)

This film will be screened at Thammasat University Library at 1230hrs on Sunday, September, 8.


 

26.3 CITY OF RUMPOEI เมืองของรำเพย (2013, Eakarach Monwat, 10min)

 

26.4 THE CURSE OF THE SPIRITS คำสาปแช่งของเหล่าผีพราย (2013, Viriyaporn Boonprasert, 5min)

 

26.5 EXIT ทางออก (2013, Pongsakorn Ruedeekunrungsi, 6.29min)

 

26.6 THE FOURTHLAND OF HEAVEN (2013, Pramote Sangsorn, 20min)

 

26.7 A HALF LIFE OF CARBON 14 (2005, PUNLOP HORHARIN, A+)

 

26.8 KEEP MHOO ROAD ถนนกีบหมู (2013, Wachara Kanha, documentary, 25min)


26.9 LONDON (1994, PATRICK KEILLER)


26.10 NEWS FROM HOME (1977, CHANTAL AKERMAN, A+)


 

26.11 NIGHT SKY ฟ้ามืดมัวมิด (2012, Teeranit Siangsanoh, 15.18min)


26.12 NO ADDRESS (2013, Sattaya Janchana, 21.31min)

 

26.13 OUD DEE อวดดี (2003, SOMPOT CHIDGASORNPONGSE, A+)


26.14 A PLACE AMONG THE LIVING (2004, RAOUL RUIZ, A)


26.15 RUSSIAN ARK (ALEXANDER SOKUROV, A+)


26.16 SANS SOLEIL (1983, CHRIS MARKER)

 

26.17 TANG WONG (2013, Kongdej Jaturanrasmee)

 

26.18 A WALK THROUGH H: THE REINCARNATION OF AN ORNITHOLOGIST (1978. PETER GREENAWAY, A+)


 

27. Serge Daney wrote “Finally, a “through” voice is a voice that originates within the image but does not emanate from the mouth. Certain types of shot, involving characters filmed from behind, from the side, or in three-quarter view or from behind a piece of furniture, screen, another person, or an obstacle of some sort, cause the voice to be separated from the mouth. The status of the through voice is ambiguous and enigmatic, because its visual stand-in is the body in all its opacity, the expressive body, in whole or in part.  It is well known that for reasons of economy, poor filmmakers often film speaking characters from behind rather than in front. Of course, the backs in question are not “real.” For Bresson (and Straub) the whole problem is to shift the effect of frontal filming to some other part of the body, to something round and smooth. Modern filmmaking (since Bresson, in fact) has featured a large number of bodies filmed from behind (sometime in seductive
 and provocative ways). Direct and indirect, here and not here. The latest (and not the least mysterious) of these back shots is of Anne-Marie Miéville in Comment ça va.

 

Discuss the presentation of the voicing body in the following films:

 

27.1 MIRACLE OF LOVE มหัศจรรย์แห่งรัก (2013, Teeranit Siangsanoh, 33.10min), in which we see the pixelated bodies of the speakers

 

27.2 SAMAKKEE-PET-KAMCHAN (2013, Theeraphat Ngathong, 26.09min), in which we see the backs of the speakers


 

27.3 YEARNING SHADOWS เงาโหยหา (2013, Teeranit Siangsanoh, 26.03min), in which we see the blurred images of the speakers