European Film Festival of India 2011
2011
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  • European Film Festival of India 2011
  • Films from Europe have traditionally dominated festival curations, and have defined throughthe ripe produce from their institutions and studios, the mediation of ‘art’ within the logic of‘film’, often making it ‘cinematic’, but never the equivalent to its explicitly commercialequivalent ‘the movie.’ The term has come to define a body of work, that stands ofindividualism in the face of critical and commercial pressure to create a ‘pure’ image thatforms invariably creates a commentary on the production and reception of the film.Europe has always stood as Hollywood’s anti-thesis.

    If Chabrol is inspired by Hitchcock,Truffaut by Nicholas Ray and Godard by the studio-produce B-movie, their work has alwaysopposed Hollywood’s notion of the dramatic event, by stretching a detail over an extended period of space and time. The European Art House cinema also oppose Holywood’s dictumof the image as being the dominant part of the cinematic experience. Beginning with Godard’s dictum of ‘son-image’ (that sound comes before image) to Bresson’s emphasis onsensorial sounds to liven the flat 50-mm image, Europe’s (lack of) engagement with the image aspect is balanced with its interest in painting, that creates arguably, the cinema withthe best lighting. One notices the similarity between the lighting of the image in the video works of Godard, Akerman and Muller and the ad films that have won honours at theCannes Lion.
  • Jean-Luc Godard Retrospective
  • Jean Luc Godard is the singular name associated with the greatest sophistication, both formal andtextual, produced by the alternate cinema. Although Godard has always been bounded by the‘International Art House’, he has attempted to break free from it time and again, most significantlyin his ‘political’ phase between ’69 and ’78. His return to the mainstream film practice in 1980 withSauve Qui Peut La Vie, has produced several new trends in film making including a transformation ofthe Bressonian transaction-based cinema ‘circuit’ into a more ‘cultural’ basis. What Godard himselfdefined as ‘cultural credit card’ was a basis through which cinema could regain its lost relevancethrough a new form, namely that of video and regain some of its lost relevance as a constantlyredefining art. Through new forms such as video and more recently HD, Godard is engaging withAdorno’s dictum of art being irrelevant after Auschwitz, often relocating his political struggles to theemerging French right or the Israel- Palestine conflict. His best recent work has emphasized the needfor engaging with the self before producing a multi-spatial discourse on “Otherness.”

    Enlighten Film Society traces its own engagement of producing ‘Cultural Credit Cards’ throughscreenings and symposiums, with a retrospective of his earlier work and select works from his laterperiod.
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