Passages

By making use of the key-notation of “Passage” this programme sketches a few of the relations which critical discourse can have with film. For Walter Benjamin, author of “The work of art in the age of its technical reproducibility”, the “passage” is the area in which reality presents itself as “spectacle”. For him the situation of the “passage” visitor is comparable with that of the film-viewer. “Passages” do not limit themselves to their historical reality. They literally represent the notion of translation. To him, film is a model because of its constant occupation with translation. Unlike the predecessor Roland Barthes, he has also no qualms about using film to sketch an image of contemporary thought. In this installment of Charbon Velours, excerpts are shown from amongst others: “The man with the camera” by Vertov, “Entr’acte” by Clair, “Le ballet mécanique” by Leger and “The fortress of Suram” by Paradjanov. There are also two video creations especially made for this programme: one by Eric De Kuyper, the other by Peter Missotten.By making use of the key-notation of “Passage” this programme sketches a few of the relations which critical discourse can have with film. For Walter Benjamin, author of “The work of art in the age of its technical reproducibility”, the “passage” is the area in which reality presents itself as “spectacle”. For him the situation of the “passage” visitor is comparable with that of the film-viewer. “Passages” do not limit themselves to their historical reality. They literally represent the notion of translation. To him, film is a model because of its constant occupation with translation. Unlike the predecessor Roland Barthes, he has also no qualms about using film to sketch an image of contemporary thought. In this installment of Charbon Velours, excerpts are shown from amongst others: “The man with the camera” by Vertov, “Entr’acte” by Clair, “Le ballet mécanique” by Leger and “The fortress of Suram” by Paradjanov. There are also two video creations especially made for this programme: one by Eric De Kuyper, the other by Peter Missotten.

INPUT 1989 v. 15: original version in french and dutch wiht english subtitles

INPUT 1989 v. 99: original version in english with dutch subtitles