RECENSIÓN.LE BONIMENTEUR DE VUES ANIMÉES. Le cinéma “muet” entre tradition et modernité Germain LACASSE. Texto completo. "The cineclub's review" number 1

LE BONIMENTEUR DE VUES ANIMÉES. Le cinéma “muet” entre tradition et modernité

Germain LACASSE

Editions Nota Bene (Québec). Méridiens Klincksieck (Paris) 2000

Por Julio Lamaña

Consensus et différends. Así titula Lacasse su introducción a un libro que insiste por activa y por pasiva que el cine “mudo” nunca fue mudo y que la oralidad estuvo siempre presente. Esa voz, que no está en el soporte fílmico, ha quedado también fuera del alcance de los historiadores, que han estado más concentrados en el texto fílmico que en las voces del metatexto cinematográfico¹. Y consecuentemente esa es la voz que el autor analiza a fondo con extensos y variados ejemplos y que tiene la denominación de bonimenteur francés, benshi japonés, lecturer inglés, kinoerzähler aleman, filmuitlegger holandés, prelegent polonés, explicador español, lecturer norteamericano, turjumán iraní, pyongsa coreano, cartouche del Zaire o agitateur ruso. Todos unos nombres para definir la figura de la oralidad en el cine “mudo” como objetivo del estudio de este libro. Explicador, comentarista, conferenciante, narrador, figuras orales que como demuestra el autor, provienen de mucho más atrás en el arte de la representación con imágenes, poniendo como ejemplo la presencia de la oralidad en los espectáculos de linterna mágica.

AUTHORS IN THE NUMBER 1. CINECLUBS' REVIEW

INDEX THE CINECLUBS REVIEW NUMBER 1

Number 1- December 2010

• Presentation/ Felipe Macedo (Brasil-Canadá)
• Editorial
• In favour of new words/ A favor de nuevas palabras/ Gabriel Rodríguez (México)
• Dossier FICC Tabor 1987 (Filmoteca UNAM-México)
• The birth of the FICC-IFFS/ Julio Lamaña (Catalunya-España)
• Las reuniones de cineclubes en América Latina en los años 80/ Mario Piedra (Cuba)
• Kelab Seni Filem Malaysia/ Wong Tuck Cheong (Malaysia)
• Ciné-clubs au Mozambique/ Guido Convents (Bélgica)
• La Fédération Tunisienne des Ciné-Clubs/ Mounira Yaacoub (Túnez)
• Cinéma du Peuple, le premier ciné-club/ Felipe Macedo (Brasil-Canadá)
• La parole comme arme du public/Germain Lacasse (Canadá)
• La sala vacía/ Nicolás Román Borré (Colombia)
• Books reviews:
• Le Bonimenteur des vues animées- Germain Lacasse (Canadá)
• Quando il cinema era un circolo- Virgilio Tosi (Italia)
• La Cinéphilie- Antoine de Baecque (Francia)
• Lo que Fabio Fasala nos ha dejado/ Paolo Minuto (Italia)
• Fabio y el mundo, el trabajo por el asociacionismo internacional/ Valeria Patanè (Italia)
• Una carta internacional para los derechos del público/ Fabio Masala (Italia)
• The audience rights: the present effectivness of the Charte of Tabor/Marco Asunis (Italia)
• Cineclubes, articuladores de culturas, derechos y públicos/ Yenny Chaverra (Colombia)
• Sobre los Derechos del Público/ Gabriel Rodríguez (México)

THE BIRTH OF THE INTERNATIONAL FEDERATION OF FILM SOCIETIES. Abstract. Complete text in "The cineclub's review" number 1

by Julio Lamaña
63 years after the birth of the FICC (Fédération Internationale des Ciné-Clubs), it seems opportune to pause in order to reflect on a key moment in the international film club movement. The political and social context of the recovery of freedom after a period of war instigated the resurgence of film societies all over the world. In this exceptional historic period, and with the need to not repeat anew another military conflict, sparked a cry from different spheres for the creation of international super-entities that would allow a progressive future and wellbeing for all the inhabitants of the planet. In 1945, the Charter of the United Nations was signed by 50 countries in San Francisco. In November of 1946, the First UNESCO World Conference was held in Paris to “establish intellectual and moral solidarity of mankind, and in doing so, prevent the outbreak of another world war”. Winston Churchill gave a speech in 1946 in Zurich proclaiming the need to unite the states of Europe so as to prevent new military conflicts. We must understand the origins of the FICC as being part of this historic process of creating international institutions. Cinema and the form in which it was approached by an organized public was also a way to avoid wars¹.

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LETTER TO ALL FEDERATIONS MEMBERS TO THE IFFS

Dear friends,

 As you all know, last december, during the IFFS general assembly, we have released the first number of The Cineclubs’ Review: it has been delivered to all federations and delegations present at that meeting.

The Review wants to be part of a strong tradition in cineclubism, coming from the Journal du Ciné-club till today, including so many publications that helped make the history of cinema in so many countries. This tradition is that of a strong and meaningful press which expresses the viewpoints of the public and help us to be part of cinema and culture. The Cineclubs’ Review intend to create a place for cineclubs in these times of structural changes in the audiovisual, times that bring new realities, conditions and challenges to our movement and for the public that we aim to represent. 

To sustain an international publication of cineclubs, however, two things are essential: the involvement of you all in it’s contents, by means of critics and articles, and the material, financial support, to make possible an initiative that, such as cineclubism itself, does not always attract a general enthusiasm from sponsors or advertisers. 

For these reasons we are adressing the IFFS and its members, as well as other organizations that could be interested, to ask and try to organize the indispensable support for the success of The Cineclubs’Review. We are asking all of you to answer to this message, sending your comments to thecineclubsreview@gmail.com, and informing on your possibilities of promoting the following actions: 

1. Send to the review’s staff your general evaluation of this first number and any suggestions you may have, mainly about the goals and contents (as put in the Presentation and Editorial, as well as in the articles), but also about format, languages used, periodicity and other aspects; 

2. Inform us about your disposition and possibility, as well as places and dates, to promote the release, distribution, and sale of The Cineclubs’ Review in your country; 

3. Inform us about the possibility of each federation or other member organization to buy an agreed number of copies for distribution, thus allowing us to guarantee a minimum revenue to support the publication and a basis for planning the number of copies to be printed. You can also subscribe directy by internet at: http://thecineclubsreview.blogspot.com

We are convinced that you, cineclubists everywhere, understand the importance of this kind of publication, a vehicle for promoting and discussing cineclubism, and also understand the need of your solidarity and participation to turn this Review into a real and independent channel for our interests and demands.  An independent channel for the public and the cinema he wants and deserves.

Sincerely yours,

The Staff, 

The Cineclubs’ Review/Cahiers des Cinéclubs/Cuadernos de los Cineclubs

 

LA CINÉPHILIE-INVENTION D'UN REGARD, HISTOIRE D'UNE CULTURE (1944-1968). Abstract. Article complet. "The cineclub's review" number 1

Compte rendu

La cinéphilie – Invention d’un regard, histoire d’une culture – 1944 – 1968

Antoine de Baecque

Paris : Fayard, 2003, 405 pages.

Par Felipe Macedo

La cinéphilie est à la mode. Au moins dans certains milieux académiques, surtout états-uniens. Et c’est beaucoup la faute de Antoine de Baecque, prolifique éditeur, journaliste, historien, professeur et critique de cinéma et cinéphile tardif, d’après lui-même. De Baecque produisit une trentaine de livres, en partant de ses études universitaires sur la Révolution Française et puis se spécialisant dans le thèmes du cinéma, des cinéastes et de la cinéphilie. Il fut éditeur des Cahiers du Cinéma (1996/98) et éditeur de culture du Libération (2001/06), parmi d’autres publications. Il organisa une anthologie, en neuf volumes, des Cahiers et publia des études importants sur François Truffaut, Manoel de Oliveira, Tim Burton, pour ne mentionner que ceux-là.

THE AUDIENCE RIGHTS: THE PRESENT EFFECTIVENESS OF ‘THE CHARTER OF TABOR'. Abstract. Complete text in "The cineclub's review" Number 1

THE AUDIENCE RIGHTS: THE PRESENT EFFECTIVENESS OF ‘THE CHARTER OF TABOR‘

By Marco Asunis

It was in the last century, in 1987, when the International Federation of Film Societies (IFFS) decided, after much discussion and many pondering efforts; the ten points of the so-called 'Bill of Tabor', named after the little town in Czechoslovakia where the IFFS held its 26 th Congress.
A 'charter' consisting of a Decalogue of targets identified for the affirmation of basic rights to which the public could potentially aim at.
From that point so far, the President of IFFS in those days, the renowned filmmaker and intellectual Carlo Lizzani, one of the great promoters of this historic resolution, tells in his fascinating book "My long journey in a short century" about some of its leading promoters and the global atmosphere of the Congress: "... September 18, 1987 I left for Rome bounded for Tabor, via Prague ... My presence was necessary for my re-election as President of the IFFS General Assembly... I think it was much enlivened by Indians, Mexicans and Cubans. People who came from areas where film societies have a great function for congregation ... The Italians were ruled by Fabio Masala’s enthusiasm , by Flippo De Sanctis’s and Riccardo Napolitano’s patience , and a few others who for years had been trying to adapt the appearance of Film Societies to the radical changes that had occurred in our country.

CINÉ-CLUBS AU MOZAMBIQUE. Abstract. Complete text in "The cineclub's review" number 1

Ciné clubs au Mozambique : un lieu d’émancipation politique, résistance contre la dictature et lutte pour une meilleur connaissance du cinéma (1953-2010).  
By Guido Convents

Dans les années cinquante une dizaine de ciné-clubs s’installent dans quelques pays africains. Il s’agit entre autres Angola, Mozambique, le Congo belge et l’Afrique du Sud. Leur signification et raison d’existence sont probablement différentes que de celles en dehors le continent. Leur existence et fonctionnement ont été également fortement marqués par l’histoire particulièrement tumultueuse dans ces pays. Un bon exemple est l’établissement des Ciné Clubs au Mozambique. D’abord ils commencent a fonctionner dans un contexte colonial, puis dans quinze ans d’un régime marxiste et une économie guidée et finalement dans un pays avec une économie totalement libre.

PHOTOS

WE ARE THE PUBLIC!

The public is seldom remembered in cinema history, and even less in the theory of moving images. The producer – or rather, the producing company -, and later the scriptwriter or the director, were the supposed sole authors of films. And film, traditionally, is to be understood in its inner relations, as a language of signs or as a discourse from a mysterious and powerful source. Or as a physiological cognitive process, or psychoanalytic experience of an abstract spectator. This spectator is an specter never found in reality – although its main characteristics usually coincide with white, christian, occidental middle class.

Spectator, as the word reveals, is someone supposed to do not participate, but only endure and accept what is presented to him. Spectatorship, the spectator posture is the main result of a clear struggle that marked the beginning of movies and the establishment of an hegemonic model of literary, linear, and spectatorial cinema. Spectator is the abstract attitude, public is the concrete context.

EDITORIAL

We are proud to present the first issue of The Cineclub’s Review, hoping that it will have its place in a gallery of publications that, since the beginning of cineclubism, constituted a milestone and proof of our importance in the evolution of cinema – the critics press, the modern critique and film theory had their origins in the various diaries and cahiers published by cineclubs. In fact, this journal aims to gather information and ideas of film societies worldwide, provoking discussion on a planetary level. In other words, we here reclaim the cineclub’s debate and press in a 21st century’s version.

This first number, as will the following ones, has a main subject, around which several texts gravitate. On the occasion of the 3rd World Conference of Film Societies and of the International Federation of Film Societies’ General Assembly, both to be held in Brazil in December 2010, our major topic is the Charter for the Rights of the Public, and the conditions that led to its proposal and approval in the Tabor meeting of 1987.