poster

Přepracování vertikálních charakteristik

  • Velká Británie

    Vertical Features Remake

Komedie

Velká Británie, 1976, 45 min

Režie:

Peter Greenaway

Scénář:

Peter Greenaway

Kamera:

Peter Greenaway

Hudba:

Michael Nyman

Střih:

Peter Greenaway
(další profese)

Komentáře uživatelů k filmu (6)

  • JFL
    *****

    Grandiózní výsměch strukturalistickým teoretikům.(31.8.2009)

  • dzej dzej
    ****

    Paradokument o Greenawayově oblíbeném tvůrci Tulse Luperovi (mimo jiné autor filmu Drahý telefone a oblíbený spisovatel hrdinů The Falls), přesněji o restauraci a reinterpretaci jeho opusu magnum s názvem Vertikální charakteristiky (encyklopedie možností zapojení vertikálních prvků do filmového obrazu, kterou by jistě ocenil Michelangelo Antonioni, viz jeho vertikální motivy v Červené pustině).(7.10.2008)

  • Exkvizitor
    ****

    Absurdní, bizarní, greenawayovské: Nápad na pomezí Monty Pythonova létajícího cirkusu a Divadla Járy Cimrmana, originálně obrazově ztvárněn, podbarven fascinující Nymanovou hudbou. Místy možná uspávající, rozhodně však inspirující.(23.7.2007)

  • d-fens
    ****

    Greenaway on Vertical Features Remake: "Vertical Features Remake is a love-hate, or more appropriately, celebration-criticism, of structural method, unthinkingly and stupidly dominant in film circles at that time. If you claimed to be a structuralist your credentials were good enough to receive film-financing. Five years before you had to be a good Marxist-Socialist Feminist and then the coffers would be open, five years later, you could get financed if you demonstrated Political Correctness and a love of California. ...The subject of Vertical Features Remake is landscape, scrupulously filmed and framed in static 'bits' centring around verticals - nature-created and man-made. And the organisation is deliberately extra-frame, organised around rigid frame number-counts - after all, on the one hand cinema is truth twenty-four frames a second, and on the other, film is a self-consciously manufactured process using the cheapest methods to create the lowest common denomination of illusory movement - Nouvelle Vague crossed with Arte Povere. Cinema is itself. But, as always film-makers cannot agree amongst themselves and the film Vertical Features has to be made three times, one for the master, one for the dame and one for the little boy who lives down the lane. Everyone has his or her needs and everyone should be accommodated. The warring academics were an excuse to explain the methodology, always a structuralist bane, and maybe their explanations set down filmically between the three films, with copious apocryphal diagrams, visual aids, archival exposition and subjectively-viewed manuscript text and drawings, are the highlight of the work - how are film solutions and agendas arrived at, how are they manipulated, what intellectual devices are pulled out to justify schemes and propositions? After all there is no such thing as history, there are only historians. In the end though, it's the landscape 'bits' - trees, posts, poles standing in snow and sunshine along the Brecon Beacons, the Wiltshire Downs, and in the Suffolk marshes - that win out - the bricks of landscape that excite, please, surprise, console and delight us all."............... "About the reorganization of the domesticated landscape. In Britain practically every sod of earth has been trodden on a thousand times; we don't have wildernesses here or anything remotely like a wilderness. It's probably one of the most painted and drawn and photographed landscapes in the world, and Vertical Features Remake was very much about this heritage."(2.11.2007)

  • tomtomtoma
    ****

    Velká spousta objektů ve vertikálních liniích na venkově jako výzkum mýtického člověka Tulse Lupera (mytologická bytost, jako Jára Cimrman v Čechách).(2.1.2010)

  • Palpy
    ***

    Hej, ale hrozne snadno se pri tom usina.(11.5.2008)

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