Peri/od/ical: Film Quarterly | journal, 1958-85

Film Quarterly, 1979 Geraldine Chaplin in "Elisa, vida mía", Carlos Saura
Film Quarterly, 1972 Bud Cort in "Harold and Maude" - Hal Ashby
Film Quarterly, 1972-73, Susannah York in Robert Altman, "Images"
Film Quarterly, 1967-68 Aurthur Penn, "Bonnie and Clyde"
Film Quarterly , 1966  Buster Keaton in "Scribe"         Film Quarterly, 1972 Tom DeWitt Ditto, "Fall"
Film Quarterly, 1981Oskar Matzerath in "The Tin Drum", Volker Schlöndorff 
Film Quarterly, 1984-85 Harry Dean Stanton in "Paris, Texas", Wim Wenders

Film Quarterly is a film journal published by University of California Press, in Berkeley, California,
United States. It was first published in 1945 as Hollywood Quarterly, was renamed The Quarterly
of Film Radio and Television in 1951, and received its current title in 1958.

 Film Quarterly is peer-reviewed, and publishes scholarly analyses of international cinemas, current
blockbusters, Hollywood classics, documentaries, animation, and independent, avant-garde, and
experimental film and video.


Britain under Fire | Photos by Lee Miller, 1940 - 44

Lee Miller, Fire Masks, 1944                                                            Lee MillerRemington Silent, 1940

Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.

T.S. Eliot, The Waste Land, 1922

Ἀνύπαρκτη Χώρα,
Μέσα στὴν γκρίζα πραγματικότητα μιᾶς γεναριάτικης χαραυγῆς,
Παραίσθηση ἀπὸ ταφόπλακες σοβιέτ, τόσοι πολλοί,
Δὲν τό ΄χα συνειγητοποιήσει πὼς ἔπρεπε νὰ ξεκάνουμε τόσους πολλoύς.

Ηλίας Λάγιος, Η Έρημη Γη, 1984

Lee Miller’s self-reinvention as first unofficial and then official war photographer was a fast and radical one. A celebrated fashion model in America in the early 1920s, artistic collaborator and muse of Man Ray and other Surrealists in Paris in the late 1920s and early 1930s, then celebrity and fashion photographer in her own right in the 1930s, Miller enthusiastically embraced an entirely new set of artistic and personal challenges when she redirected her camera to scenes of war. The period spanning 1940 to 1945 is regarded by Miller’s biographers and critics to be one of the most creative ones in her career as a photographer.

Lee Miller, Piano by Broadwood, London,  1940

  Lee Miller’s war photography is unconventional in several ways. It does not operate in the service of national myths of heroism or the glory of war, avoids the visual conventions of propagandist war journalism, and with the exception of her images of the camps at Dachau and Buchenwald shortly after their liberation in April 1945, often eschews, or figures in unusual ways, the more violent and horrific spectacles omnipresent during wartime (except in those instances where documenting such scenes was an ethical imperative for her).

Much of Lee Miller’s photography of the home front and frontlines instead foregrounds conventionally unprivileged subject matter, thematically engaging with ideas of the ordinary, an approach I argue can be understood in terms of her “ethics of seeing” war. Rarely just indexical in character, and subverting documentary’s claims to objectivity, her war photography mediates between art and documentary. While often shot quickly and in technically difficult circumstances her photographs are quietly composed and semantically multi-layered.

Lee Miller, Revenge on Culture, 1940 >

Miller’s photographs of London during the Blitz, published concurrently in Britain in 1941 as Grim Glory: Pictures of Britain Under Fire and America under the title Bloody but Unbowed: Pictures of Britain Under Fire; and some of the photographs she took on the Continent when working as a U.S. accredited war correspondent for British Vogue in 1944 and 1945, later published in the book Lee Miller’s War (1992).


Ρομαντικός Επίλογος | Νίκος Καρούζος, 1969

Pavel Tchelitchew  - Head from Spiral Head series, 1950       Pavel Tchelitchew - Spiral Head III, 1950

Μη με διαβάζετε όταν δεν έχετε
παρακολουθήσει κηδείες αγνώστων
ή έστω μνημόσυνα.
Όταν δεν έχετε
μαντέψει τη δύναμη
που κάνει την αγάπη
εφάμιλλη του θανάτου.
Όταν δεν αμολήσατε αϊτό την Καθαρή Δευτέρα
χωρίς να τον βασανίζετε
τραβώντας ολοένα το σπάγκο.
Όταν δεν ξέρετε πότε μύριζε τα λουλούδια
ο Νοστράδαμος.
Όταν δεν πήγατε τουλάχιστο μια φορά
στην Αποκαθήλωση.
Όταν δεν ξέρετε κανέναν υπερσυντέλικο.
Αν δεν αγαπάτε τα ζώα
και μάλιστα τις νυφίτσες.
Αν δεν ακούτε τους κεραυνούς ευχάριστα
Όταν δεν ξέρετε πως ο ωραίος Modigliani
τρεις η ώρα τη νύχτα μεθυσμένος
χτυπούσε βίαια την πόρτα ενός φίλου του
γυρεύοντας τα ποιήματα του Βιγιόν
κι άρχισε να διαβάζει ώρες δυνατά
ενοχλώντας το σύμπαν.
Όταν λέτε τη φύση μητέρα μας και όχι θεία μας.
Όταν δεν πίνετε χαρούμενα το αθώο νεράκι.
Αν δεν καταλάβατε πως η Ανθούσα
είναι μάλλον η εποχή μας.
Μη με διαβάζετε
Μη με διαβάζετε όταν
δεν ήρθατε σε ρήξη με το σώμα …
Ώρα να πηγαίνω
δεν έχω άλλο στήθος.

Νίκος Καρούζος,  Ῥομαντικὸς ἐπίλογος , συλ. Πενθήματα, 1969

Alphabetarion # Fear | Frank Herbert, 1965

Bill Brandt, Aldeburgh, 1948

"I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. 
I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path.
Where the fear has gone there will be nothing. Only I will remain."

Frank Herbert, Dune, 1965

Postcards II | Matisse / Picasso / Lorca / Kerouac / McCartney

Henri Matisse to André Rouveyre, 1943

Henri Matisse to André Rouveyre, 1943

A postcard sent from Paris by Francisco García Lorca to Federico, 1924

Pablo Picasso, postcard to Jean Cocteau, 1919, St.-Raphael

My dear Cocteau 

I am quite sad that you are ill. I hope that you will be well soon and that I will see you. At Montparnasse next Wednesday's festivities in honor of the musician I hope to see you. I have good ideas for our theater story - we shall talk about it. 

Best wishes 

< Illustrated letter from Pablo Picasso to Jean Cocteau, 1916

Pablo Picasso to Guillaume Apollinaire, 1905 « Je ne te vois plus. Tu es mort ? »               Pablo Picasso and Max Jacob to Guillaume Apollinaire. July, 1905

Postcard from Jack Kerouac to his psychiatrist Sept. 26.1966

Paul McCartney sent Ringo Starr a postcard on January 31, 1969
(the day after the band’s performance on the roof of Apple Studios) saying:
“You are the greatest drummer in the world. Really.”

See more:

Shadows | Charles Dickens, 1844


“Look round and round upon this bare bleak plain, and see even here, upon a winter’s 
day, how beautiful the shadows are! Alas, it is the nature of their kind to be so. The loveliest
 things in life, Tom, are but shadows; and they come and go, and change, and fade away…”

Charles Dickens, Martin Chuzzlewit, 1844

Visiting: Museums II / Eve Arnold / Joze Kolosa / Elliott Erwitt / Martine Franck / Richard Peter / Myron Wood / Henri Cartier-Bresson / Robert Doisneau / Maria Austria

 Robert Doisneau, Le Combat du Centaure, 1971
Henri Matisse drawing a Greek kouros at the Louvre, 1932
Alecio de Andrade, Louvre, 1971                     Henri Cartier-Bresson - Man Leaning against a Sculpture
Elliott Erwitt, Metropolitan Museum of Art, 1988
Myron Wood, Children Admiring Sculpture, 1961
John PhilipsPrince Victor Emmanuel with a blind boy Rome, 1946                 Martine Franck, Pushkin Museum, Moscow,1972 
        Richard Peter,Visitors in front of Raphael’s Madonna Sistina, Gemaldegalerie, Dresden, 1964
Eve Arnold, New York City, Museum of Modern Art, 1959
Joze Kolosa, Art Exhibition, 1946
Maria Austria, Rijksacademie voor Beeldende Kunsten, Amsterdam, 1962

See more:

Frame inside | Mother and Child / Pablo Picasso & Alfred Hitchcock, 1922

Peter Stackpole, Alfred Hitchcock, 1939                                            Pablo Picasso, Mother and Child, 1922

stereosc2pe + | Trees have long thoughts / Hermann Hesse, 1920

"So the tree rustles in the evening, when we stand uneasy before our own childish thoughts: 
Trees have long thoughts, long-breathing and restful, just as they have longer lives than ours. 
They are wiser than we are, as long as we do not listen to them. But when we have learned
 how to listen to trees, then the brevity and the quickness and the childlike hastiness of our 
thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer 
wants to be a tree. He wants to be nothing except what he is. 
That is home. That is happiness.”

Hermann Hesse, Wandering: Notes and Sketches, 1920



Κωστής Παλαμάς | Το Φιλολογικό Σαλόνι της Οδού Ασκληπιού 3 (1884 - 1935)

Το σημαντικότερο φιλολογικό σαλόνι της εποχής ήταν το σπίτι του Παλαμά στην οδό Ασκληπιού 3. Στο σπίτι αυτό έζησε ο Παλαμάς το μεγαλύτερο μέρος της ζωής του (1884 - 1935), οπότε μετακόμισε στην Πλάκα.

   Το σπίτι αυτό είχε δυό ορόφους, που επικοινωνούσαν μεταξύ τους με εσωτερική σκάλα. Μια εξωτερική μαρμάρινη σκάλα οδηγούσε από την εξώθυρα του δρόμου κι από την αυλή του σπιτιού στην είσοδο του επάνω ορόφου, όπου διέμενε ο Παλαμάς.

   Στο σπίτι αυτό του Παλαμά γίνονταν τα βράδια, κυρίως τα Σαββατόβραδα, φιλολογικές συγκεντρώσεις με λογοτέχνες και λόγιους της εποχής, οι οποίοι συζητούσαν για την πνευματική ζωή και τη σύγχρονη λογοτεχνική κίνηση, αλλά και για τη μοντέρνα ευρωπαϊκή λογοτεχνία.

   ^O Κωστής Παλαμάς με τη γυναίκα του Μαρία και την κόρη του Ναυσικά στο σαλόνι του στην Ασκληπιού.

   Στο φιλολογικό αυτό κύκλο του Παλαμά ανήκαν ο Γρηγόριος Ξενόπουλος, ο Μιλτιάδης Μαλακάσης, ο Ζαχαρίας Παπαντωνίου, ο Ιωάννης Γρυπάρης, ο Ανδρέας Καρκαβίτσας, ο Λάμπρος Πορφύρας, ο Παύλος Νιρβάνας και άλλοι, οι οποίοι διάβαζαν στις βραδυνές τους συναθροίσεις έργα τους, κάθε νέα δημιουργία τους στην ποίηση, το θέατρο ή το διήγημα.

     Το ιστορικό αυτό σπίτι του Παλαμά, όπου έζησε τα περισσότερα χρόνια της ζωής του και έγραψε τα πιο πολλά από τα έργα του, κατεδαφίστηκε το 1966, παρόλες τις διαμαρτυρίες και έγγραφες αναφορές του πνευματικού κόσμου. Στον τύπο της εποχής είχε χαρακτηριστεί ως "πνευματικό έγκλημα".

      Σήμερα, η πολυκατοικία που έχει ανεγερθεί στη θέση του στεγάζει το Ίδρυμα Κωστή Παλαμά.

^ Γ. Ροϊλός, Οι ποιητές  Φιλολογικός Σύλλογος «Παρνασσός». Μεγάλοι ποιητές της γενιάς του 1880(π. 1919)
Στα δεξιά απεικονίζεται ο Α. Προβελέγγιος να διαβάζει κάποιο ποίημά του, ενώ από τα αριστερά προς τα δεξιά διακρίνονται οι Γ. Στρατήγης, Γ. Δροσίνης, I. Πολέμης, K. Παλαμάς (στο κέντρο) και Γ. Σουρής.

"Εκεί κάθε Σάββατο, καμιά φορά και συχνότερα επί χρόνια πολλά τότε, με τα πρωτόλειά μας στην αρχή, με τα ώριμα έργα μας ύστερα, πεζογράφοι και ποιηταί, εκεί στο σπίτι του δασκάλου, Δροσίνηδες, Χατζόπουλοι, Καμπύσηδες, Νιρβάνηδες, Πορφύρηδες, Γρυπάρηδες, Σημηριώτηδες, όλοι σ' ένα γραφείο με στοίβα τα βιβλία και τα χαρτιά σε ράφια ως το ταβάνι της κάμαρας."

Μιλτιάδης Μαλακάσης, Άπαντα Β΄, 1964

Το σκάκι | Σπυρίδων Βικάτος

Σπυρίδων Βικάτος, Το σκάκι (1903;)

Ο Σπυρίδων Βικάτος (1878 –  1960) ήταν `Ελληνας ζωγράφος, 
από τους τελευταίους εκπροσώπους της «Σχολής του Μονάχου»

The Book & the Movie: White Nights | Fyodor Dostoyevsky, 1848 / Luchino Visconti, 1957

“And was it his destined part
Only one moment in his life
To be close to your heart?
Or was he fated from the start
to live for just one fleeting instant,
within the purlieus of your heart.”

Ivan Turgenev, White Nights

“It was a marvelous night, the sort of night one only experiences when one is young. The sky was so bright, and there were so many stars that, gazing upward, one couldn’t help wondering how so many whimsical, wicked people could live under such a sky.”

"I am a dreamer. I know so little of real life that I just can’t help re-living such moments as these in my dreams, for such moments are something I have very rarely experienced. I am going to dream about you the whole night, the whole week, the whole year. I feel I know you so well that I couldn’t have known you better if we’d been friends for twenty years. You won’t fail me, will you? Only two minutes, and you’ve made me happy forever. Yes, happy. Who knows, perhaps you’ve reconciled me with myself, resolved all my doubts."

                                                      Fyodor Dostoyevsky, White Nights, 1848

“But how could you live and have no story to tell?”
“It suddenly seemed to me that I was lonely, that everyone was forsaking me and going away from me.”
“Why is it that even the best of men always seem to hide something from other people and to keep something back? Why not say straight out what is in one’s heart, when one knows that one is not speaking idly? As it is every one seems harsher than he really is, as though all were afraid of doing injustice to their feelings, by being too quick to express them.” 
                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  “To-day was a gloomy, rainy day without a glimmer of sunlight, like the old age before me. I am oppressed by such strange thoughts, such gloomy sensations; questions still so obscure to me are crowding into my brain—and I seem to have neither power nor will to settle them. It’s not for me to settle all this!”
“Oh, how unbearable is a happy person sometimes!”
“I don’t know how to be silent when my heart is speaking.”
Bill Haley and his Comets - Thirteen Women

Dance scene from White Nights / Le Notti Bianche (Luchino Visconti, 1957) Among dancers : Dirk Sanders, Marcello Mastroianni 
(who is really funny!) & Maria Schell / Choreographed by Dirk Sanders
“Your hand is cold, mine burns like fire. How blind you are, Nastenka!”
“May your sky always be clear, may your dear smile always be bright and happy, and may you be for ever blessed for that moment of bliss and happiness which you gave to another lonely and grateful heart. Isn’t such a moment sufficient for the whole of one’s life?”

“And so I ask myself: 'Where are your dreams?' And I shake my head and mutter: 'How the years go by!' And I ask myself again: 'What have you done with those years? Where have you buried your best moments? Have you really lived? Look,' I say to myself, 'how cold it is becoming all over the world!' And more years will pass and behind them will creep grim isolation. Tottering senility will come hobbling, leaning on a crutch, and behind these will come unrelieved boredom and despair. The world of fancies will fade, dreams will wilt and die and fall like autumn leaves from the trees. . . .”

                                             Fyodor Dostoyevsky, White Nights, 1848

Le notti bianche (1957)
Director: Luchino Visconti 
Stars: Maria Schell, Marcello Mastroianni, Jean Marais 
Music: Nino Rota

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