
As images de Forgoselo fôrom filmadas durante o encontro de cineastas Chanfaina Lab que tivo lugar em Sam Sadurninho o 6 e 7 de Setembro de 2014, impulsado e dinamizado por Manolo González. Esta peça é a terceira entrega da série Superfícies. Neste caso a image dumha pena na Serra do Forgoselo é refilmada a partir dumha superfície granítica: granito sobre granito. Gosto desses ares empedrados: terra e céu fundem-se em aperta pétrea.
O tremor da cámara nos primeiros planos (provocado polo vento, tamém presente, indirectamente, na banda sonora) serve-nos para discriminar a superfície da image, e a partir de aí construirmos as nossas próprias superfícies.
“Entender moito nom entendimos, pero o Forgoselo é assi.” (Duas velhas vizinhas de Sam Sadurninho na estrea da película.)

The images of Forgoselo were filmed during the Chanfaina Lab filmmakers’ encounter that took place in Sam Sadurninho on 6-7 September 2014, an encounter promoted and encouraged by Manolo González. Forgoselo is the third installment of the Surfaces series. In this case, the image of a rock in the Forgoselo mountains is refilmed off a granite surface: granite on granite. I like those stone skies: earth and air hold each other in a passionate stone embrace.
The trembling of the camera in the first shots (caused by the wind, which is also present, indirectly, in the soundtrack) helps us discriminate the image from the surface. From then on, it’s up to us to build our own surfaces.
“We didn’t really understand the film, but Forgoselo is like that.” (Two old women from Sam Sadurninho after the film’s premiere.)

Peter (tubo)
(2015, 3’26”)

Donde procede a image? Do interior ou do exterior? É luz emitida ou é luz reflectida? É televisom ou é cinema?
A image e a voz fôrom gravadas durante umha entrevista a Kubelka na (S8) Mostra de Cinema Periférico de 2012, o ano da “morte do cinema” segundo o cineasta austríaco. A sua cara está projectada sobre a superfície morta dum tubo de image e refilmada a partir dela, umha superfície nom desenhada para a projeçom, senom para receber a image desde o interior. Esta contradiçom entre image projectada e image emitida é a contradiçom entre cinema em celuloide e cinema digital. A vida (latejos) e a morte (vermes).

Where does the image come from? From the inside or from the outside? Is it broadcast light or is it reflected light? Is it TV or is it cinema?
Image and voice recorded during an interview with Kubelka at the (S8) Mostra de Cinema Periférico in 2012, the year of the “death of cinema”, as the Austrian filmmaker put it. His face was projected on the dead surface of a picture tube and then refilmed from that surface, which was never designed as a projection screen, but to receive the image from the inside. This contradiction between screened image and broadcast image is the contradiction between celluloid cinema and digital cinema. Life (heartbeats) and death (worms).

D’où vient l’image? De l’intérieur ou de l’extérieur? Est-elle une lumière diffusée ou une lumière réfléchie? De la télévision ou du cinéma?
Image et voix enregistrées lors d’une interview de Kubelka au (S8) Mostra de Cinema Periférico en 2012, l’année de la «mort du cinéma», à la manière dont le cinéaste autrichien le fit. Son visage a été projeté sur la surface morte d’un tube, puis refilmé de cette surface, qui n’a jamais été conçu comme un écran de projection, mais pour recevoir l’image de l’intérieur. Cette contradiction entre l’image projetée et l’image télé est la contradiction entre cinéma celluloïd et cinéma numérique. Vie (battements du cœur) et mort (ver).
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