Wieczór 21 - Eksperymentujemy dalej... 01.12.2008 godz. 21:00

[OPERATOR LUBAY]

Szanowni!

Tym razem, nie bez przyczyny (o czym napiszę dalej) proponuję Wam
spotkanie interkulturowe (nie mylić z interracial!). Nie ukrywam, że
będzie to po części pewnego rodzaju kontynuacja poprzedniego wieczoru
filmowego w naszym klubie...

Najbliższy pokaz zawierać będzie:

"Cremaster 2" reż. Mathew Barney
"Gnawa Diffusion Live in Paris 2004 (last concert ever!)"

Dla wszystkich Wtajemniczonych i Zainteresowanych: Do What You Gonna
Do!"

Kolejność nie jest jeszcze znana i ustalona. Decydują głosy obecnych.
Przed projekcją zostanie przeprowadzone głosowanie.

Porządek głosowania:

Punkt 1: "Czy chcesz, aby najpierw puścić dziś "Cremaster 2, Mathew
Barney'a, a potem to co w pkt.2?"
Punkt 2: "Czy chcesz, aby najpierw puścić dziś "Gnawa Diffusion Live",
a potem to co w pkt.1?"

Demokracja bezpośrednia kształtuje program. Tego jeszcze (w kinie) nie
było!

Pozdrawiam,
OPERATOR LUBAY

p.s. Uwaga! Od 15.12 udaję się w podróż międzykontynentalną.
Najbliższy autorski wieczór filmowy w dniu 19.01.2009. Zatem: Albo,
albo... nie mniej jednak, pozostaję w Waszej pamięci!

Seen (znaczy: do zobaczenia!),
Lubay

[OPERATOR LUBAY]

W ramach uzupełnienia (przekaz wyłącznie dla Widzów anglojęzycznych):

"CREMASTER 2 (1999) is rendered as a gothic Western that
introduces conflict into the system. On the biological level it
corresponds to the phase of fetal development during which sexual
division begins. In Matthew Barney's abstraction of this process, the
system resists partition and tries to remain in the state of
equilibrium imagined in Cremaster 1 (widzieliśmy w zeszłym tygodniu).

Cremaster 2 embodies this regressive impulse through its
looping narrative, moving from 1977, the year of Gary Gilmore's
execution, to 1893, when Harry Houdini, who may have been Gilmore's
grandfather, performed at the World's Columbian Exposition. The film
is structured around three interrelated themes - the landscape as
witness, the story of Gilmore (played by Barney), and the life of bees
- that metaphorically describe the potential of moving backward in
order to escape one's destiny. Both Gilmore's kinship to Houdini
(played by Norman Mailer) and his correlation with the male bee are
established in the séance/conception scene in the beginning of the
film, during which Houdini's spirit is summoned and Gilmore's father
expires after fertilizing his wife. Gilmore's sense of his own doomed
role as drone is expressed in the ensuing sequence in a recording
studio where Dave Lombardo, former drummer of Slayer, is playing a
solo to the sound of swarming bees. A man shrouded by bees with the
voice of Steve Tucker, lead vocalist of Morbid Angel, growls into a
telephone. Collectively these figures allude to Johnny Cash, who is
said to have called Gilmore on the night of his execution in response
to the convict's dying wish.

Barney depicts Gilmore's murder of a Mormon gas station
attendant in both sculptural and dramatic forms. Inferring that
Gilmore killed out of a longing for union with his girlfriend, Nicole
Baker, he represents their relationship through two conjoined cars:
the blue and the white 1966 Mustangs that they coincidentally both
owned. In the murder sequence, Gilmore shoots his victim in the back
of the head. This act sets in motion the trial and verdict that will
condemn him to death, a sentence he embraces despite all efforts to
overturn it. Barney stages the judgment of Gilmore in the Mormon
Tabernacle Choir. Gilmore welcomes death, refusing to appeal his
sentence and opting for execution by firing squad, in a literal
interpretation of the Mormon belief that blood must be shed in order
for a sinner to obtain salvation. His execution is staged as a prison
rodeo in a cast-salt arena in the middle of the flooded Bonneville
Salt Flats.

Gilmore is lowered onto a bull and he rides to his death. In
Barney's interpretation of the execution, Gilmore was less interested
in attaining Mormon redemption than in performing a chronological two-
step that would return him to the space of his alleged grandfather,
Houdini, with whom he identified the notion of freedom through self-
transformation. Seeking escape from his fate, he chose death in an act
of ultimate self-will. Gilmore's metaphoric transportation back to the
turn of the century is rendered in a dance sequence featuring the
Texas two-step. The film ends in the Columbian Exposition hall where
Houdini is approached by Gilmore's grandmother Baby Fay La Foe who
will seduce him, an act that sets in motion the circular narrative of
Cremaster 2."


Tyle.
OPERATOR LUBAY