Schmetterlingsjagd (German Edition)

Real bummer because the episode got an Oscar for the best short movie in Episode 7 - Shocking Pink: Episode 9 - Pink Ice: Even though some of the episodes were originally produced for movie theaters, some episodes were obviously modified to fit the screen parts of heads and logos were cut off. Both examples taken from the episode "We give Pink Stamps".

SWISS FILMS: Der Schmetterlingsjäger – 37 Karteikarten zu Nabokov

List of episodes Number Original title German title Cut? The dog holds the gun under the blanket and pulls the trigger. His carbonized master, who's also under the blanket, appears. In the next scene, the dog is being routed out of the house. Cut to the dog. The principle of his thinking is always to say no. Not accepting what already is, but putting everything into question when it is perceived. He knows all the rules of cinema and leaves them behind. The principle of his thinking is to say no Exactly, and that produced a new style! Twenty years later, without any sign of regret, he concludes: Rivette has always made the same films, Truffaut as well, and Rohmer very extremely so.

They have all found their style and followed it through until the end of their lives. That was not really to be expected. In the biography by Antoine de Baecque, we learn a lot about that time. The style, which was shaped by this film twenty years earlier, was replaced by the aesthetics that go hand in hand with the video technique.

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Although the kind of films he made had already extremely changed long before, the switch to video is a fundamental transformation. It leads to a new style, which fully corresponds to the intentions of reflecting his means of working more strongly. They are, however, films that reflect on the medium.

And the most interesting political film from the Dziga Vertov Group phase is, I believe, Ici et ailleurs , in which he reflects on all of this: Why have I chosen this shot? When the victory didn't occur, the whole project was jeopardized. Tellingly, it was precisely at that point that Godard used video. The available 16mm footage was transferred to video and subjected to an analysis during the video editing.

The film itself is a kind of pivot or hinge, towards a different film form. Together with Georg Alexander, you conducted your first interview with Godard in Cologne in How did that come about? It came about because we broadcasted his films — which was crucial for him. Indeed, we were the only ones who showed his political films on television. We showed films like Pravda and Lotte in Italia both from ,9 much to the chagrin of our managers and directors. Of course, they thought what we were doing was horrible. That was my access to Godard: And then I came to Cologne, and we sat at a table and talked.

I still remember it. He came together with Jean-Pierre Rassam, a French producer. I still remember how I drove out of Cologne with him afterwards, in order to show them the direction of the motorway. How did you feel about this transformation in the context of your own experience of seeing films? Was there any disappointment about Godard turning his back on cinema?

No, not at all; it was a time of politicization. And, like Godard, I also politicized. We were the only ones to show these films. That is to say, they all could have shown these Godard films without having to pay — but none of them did! You already mentioned the dissatisfaction of those in charge. Still, it was possible to show the films on the WDR?

Also at the WDR people were shaking their heads in disbelief. Because later they proved he had made anti- Semitic statements as a young journalist.

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He made the big mistake of wanting to sweep it under the rug instead of talking about it. He should have said: In a private context, this background had turned him into a very open-minded, generous and liberal human being. When you went to see him, he would always mockingly ask you: It was more of a work conversation: I came to his studio in Grenoble, with an endless amount of monitors just standing there, videotapes everywhere and all that. He showed me what he had made and then we went to eat something, sat together and came back to the studio. We knew each other.

Of course, he had always given the impression that interviews with him were entirely superfluous. It is important to make and show films instead No, he was really very nice and perhaps he liked me as well. It really was an intense working atmosphere, which was only interrupted when my team arrived. Then he had to sit down, the technical side was installed and it suddenly became television again. Did you also record the interview on video at that time? I believe we shot on 16mm in Grenoble. That must have been a bizarre situation for Godard.

There was a full WDR team present, including a cameraman, a sound engineer and a production assistant, and they installed their own lighting in his video studio. That was pretty absurd. I do remember Godard was very patient. He watched it happen — but I have no idea what he thought about it. We talked for a long time and part of the footage was made into a film for the WDR.

SWISS FILMS

We did not yet have a pronounced sense of preservation, which is of course quite dumb. He says he found the editing remains of your Godard interview in the wastebasket when he was a freelancer at the WDR. I then edited the interview and wrote an introduction. Unbelievable [laughs], how he was sneaking around the rooms, looking for something to take. In the introduction you mention that Godard showed you something from Six fois deux.

He showed me some episodes and we spoke about those. For me, it was just information. It was about seeing what he did and how he did it — which is what I asked him. Some things I found beautiful, some amusing and some not very interesting. What he produced in Grenoble was very hard to broadcast, because they were series.

So we made choices and broadcasted a couple of episodes. So you were faced with the difficulty of translation. Already then, and next to the different audio tracks, Godard used numerous text insertions, which necessarily had to collide with the subtitles that were added later. Exactly, so it was either subtitles or a voice-over. We frequently bickered over that. The purists were all for subtitles — because otherwise the original voice was lost. What they forgot was that subtitles destroy the image [laughs] and that the subtitles change the way of seeing. You constantly jump back and forth.

We would see the images and we would see them so intensely that we could indeed understand. That would be a highly interesting form of watching films. Because the images and the movement represent a form of speech that is seldom adequately translated into words. But of course it was unthinkable that we would show a ninety-minute Japanese film on television without subtitles. That a famous director like Godard turned to television and preferred a technique like video was a big influence at the time.

Among other things, he did a talk about his switch to video for the association of Swiss film and AV producers that same year. We can no longer do that in the cinema. Other films dominate cinema. The films he was making at the time had no place in the cinema. On television everything seemed possible. But no one was interested.

Rolle in — Making History In you visited Godard one more time. Something funny happened there. I recorded the conversation, went back to the hotel and found out that there was nothing on the audiotape.

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The worst thing that can happen. There is nothing on this tape recorder. Did you speak about the work he was doing at the time? Yes, he even got a little pedagogical. Godard found himself a new form there, in the sense that he suddenly started getting interested more in people. He talked with them. They had to tell him what they did and why they did it.

It consists of twenty photocopies that show idiosyncratic image and text edits produced by Godard, scissors and glue. The pages were printed, together with the interview, in the magazine Filmkritik and developed a certain influence afterwards. Siegfried Zielinski, for example, later published one of the collages in his book Audiovisionen Zielinski once told me about it Friedrich Kittler also included one of the collages in his book Film, Grammophon, Typewriter Apparently the mere sketch of a film project struck a nerve.

You return to this project in the conversations of and The development of Histoire s was a project with many different stages. It started with this collage and took a more concrete form in the lectures Godard gave in Montreal in Recorded and transcribed, these first reached the form of a book18 — not without the loss of friction — before the temporary versions of the first episodes were broadcasted on television from on. He started with the lectures in Canada. I compare one of my films with other films and that way I can talk about my films by means of other films.

That idea was continued and soon extended to the cinema of the entire world — that was the beginning. And the book — I also really like the first book, because it is full of errors and typos. Frieda Grafe and Enno Patalas then published the German edition. They domesticated it, as it were. That is to say, they turned it into a correct version. That reminds me of the fact — which seems a fundamental step in his oeuvre — that he almost completely resorts to already-existing film material. A form of re- production that, in this case, owes a substantial amount to the video technique. That was the reason.

What always bothered him in conventional filmmaking was the fact that it took too long. In the beginning it is terrible: What does he really want? He says, I am making a film history — but not by means of writing, but of video. A kind of film-written film history. He is interested in other things. Once again, it is a reflection on images. Nevertheless, the historical is what interests him foremost. It rather concerns a perspective on history, which also aims at a poetic moment. The following other wikis use this file: Peterchens Mondfahrt Lepidopterologie Usage on en.

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