The religious dance becomes spectacle. And in sport the black can find, hoping for the best, a good terrain for mystifying the white’s pride. pin. Friday, October 4, 2019 at 8:30 PM – 11:00 PM UTC+02. Les statues meurent aussi est un court métrage documentaire français réalisé par Chris Marker, Alain Resnais et Ghislain Cloquet, sorti en 1953.. From such heights, Africa is a wonderful laboratory where it is possible to partially prefabricate the kind of good black dreamt up by the good whites. Also an art of portraits. One realizes that this creation has no limits, that everything communicates, and that from its planets to its atoms this world of rigour comprises by its turning the world of beauty. 17th. In-depth Analysis: http://sensesofcinema.com/2012/feature-articles/statues-also-die-or-schroedingers-black-cat/. Alain Resnais & Chris Marker - Les Statues Meurent Aussi (Statues Also Die) - 1953 NOTE: Click CC button to add English subtitles. They are the roots of the living. Those fibers, among which, the foremost sacrilege, lifting the Earth’s skirt, has discovered…. When men die, they enter into history. [5] The first time the full version was publicly screened in France was in November 1968, as part of a program with thematically related short films, under the label "Cinéma d'inquiétude". Quand les statues sont mortes, elles entrent dans l’art. Inspirée par le mythe de Pygmalion et du film Les statues meurent aussi d’Alain Resnais et Chris Marker (1953), Marlene Monteiro Freitas convoque des figures transgressives et outrancières dans un bal halluciné. about 8 months ago. The magic devised to protect them when they die on their own account is powerless when they die on our account. De makers werpen in eerste instantie de vraag op over het nut van kunst in een museum en daarna tonen ze beeldreeksen, die ze van commentaar hebben voorzien. Koop Dvd, blu-ray Les Statues meurent aussi. Emiam 5/10 (7.6 / 10 IMDb - 1091 votes) Classic short film. After the Frisians, the monsters, the helmeted Atrides of Benin, all the vestments of Greece over a people of a sect, here are their Apollos from Aifé which strike us with a familiar language. Some critics condemned Hiroshima mon amour for its sympathetic treatment of the heroine, once a wartime collaborationist and… And they are not so much idols as toys, serious toys which have no value except for what they represent. [3] She notes how the objects in Statues Also Die are shown almost as if they were alive: "Marker's camera treats all subjects in front of its lens without differentiating between humans, statues, animals, landscapes, architecture, or signs. His strength serves us, his prowess amuses us, on the side, he serves us as well. This film is already almost 65 years old today and I … And witness here, far from the appearances of black art: for the art of communion, the art of invention finds accomodations within this world of loneliness and the machine. Alain Resnais & Chris Marker – Les Statues Meurent Aussi (Statues Also Die) – 1953 – Transcript Vids. The broadest activity cooperates with the world as a whole where everything is fine. Achat Les Statues Meurent Aussi Ode Au Grand Art Africain à prix bas sur Rakuten. She notes how the objects in Statues Also Die are shown almost as if they were alive: “Marker’s camera treats all subjects in front of its lens without differentiating between humans, statues, animals, landscapes, architecture, or signs. Aujourd'hui sur Rakuten, 4 Les Statues Meurent Aussi vous attendent au sein de notre rayon . L'hybride, Lille. Chris Marker and Alain Resnais, France, 1952–53, 30 min. Les Statues meurent aussi: Filmnotes @ PFA. Which song cradled this little princess? Les Statues meurent aussi - Bioscopen, Tijden & Tickets Les Statues meurent aussi in de bioscoop. 425 Followers. The man who had impressed his mark upon things accomplishes now empty gestures. Because they are written on wood, we take their thoughts for statues and we find the picturesque there, where a member of the black community sees the face of a culture. The film argues that colonial presence has compelled African art to lose much of its idiosyncratic expression, in order to appeal to Western consumers. One says “yes, yes, yes”. Statues Also Die, or Schroedinger’s Black Cat. Les statues meurent aussi discusses the perception of African sculptures from a historical and contemporary European perspective. It is its smile of Reims that she gazes upon (a city in NE France: cathedral; unconditional surrender of Germany May 7, 1945.). Comment des statues aussi hors norme, faites de roche, peuvent-elles mourir ? Directed by Ghislain Cloquet, Chris Marker, Alain Resnais. We cure the black of his diseases, it is certain. But at the same time it receives this title of glory, black art becomes a dead language and that which is born over its death is the jargon of decadence. Racisme : il faut que les statues meurent aussi… Car leur présence fait souffrir des populations déjà meurtries par l’oppression blanche. Movies. In this way, by the side of the black-slave, appears a second figure, the black-puppet. And when we disappear, our objects will be confined to the place where we send black things: to the museum. Alter further writes that as the film asserts that colonialism is responsible for the “disenchantment and demystification” of African culture, Statues Also Die “illustrates the process whereby a religious fetish is transformed into a commodity fetish by Western civilization. We want to see suffering, serenity, humor, when we know nothing. These fake jewels, which the explorers offer to the savages in order to please them, end up being sent back to us by the blacks. This overflow of creation, which deposits its signs like shells upon the smooth wall of the statue, is an overflow of imagination, it is freedom, turning of the sun, flower knot, water curve, fork of the trees, one after the other, the techniques are mixed, the wood subtly imitates the fabric, the fabric takes its motives from earth. We disembark from our planet with our way of seeing, with our white magic, and with our machines. Black was already the color of sin. Traveller’s tales spoke of monsters, flames, diabolical apparitions. The faces of black art fell off from the same human face, like the serpent’s skin. We recognize Greece in an old African head of 2000 years; Japan in a mask from Logoué; and still India; Sumerian idols; our Roman Christ; or our modern art. We buy their art and we degrade it. The film exhibits a series of sculptures, masks and other traditional art from Sub-Saharan Africa. The sorcerer captures images every day. 86 quai Perrache, 69002 Lyon, France. Les Statues meurent aussi de Chris Marker, Alain Resnais, Ghislain Cloquet un film à télécharger, en VoD et streaming légal sur LaCinetek But, winner of the body, death cannot do anything against the vital strength spread through every being and which composes its double. All that was pretext for works of art is replaced be it clothing, symbolic gestures, intrigues, or talking. Black art, we look at it as if it had its reason for being in the pleasure it gives us. Who loses and who wins in the exchange has been of no concern whatsoever. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming … We put stones over our dead in order to prevent them from escaping. We are not redeemed by shutting off the blacks within their own celebrity. Les statues meurent aussi (The Statues Also Die) Alain Resnais Vannes, France, 1922 - Paris, France, 2014 Chris Marker Neuilly-sur-Seine, France, 1921 - Paris, France, 2012 We taught him not to carve farther than the tip of his nose. 209 likes. Here the problem of the subject is not posed. Animal shapes like the one over this weaving bobbin, plant shapes like the ones over these ornamented boxes, all of creation moves in formation under the fingers of the black artist. Apr 16, 2012 - Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. "Les statues meurent aussi" or "Statues also Die" is a half-hour documentary from France. And it is this appearance which is fixed in these legendary metamorphoses in order to appease it until these winning faces are done repairing the fabric of the world. And their eternal countenance takes, sometimes, the shape of a root. Images via: https://www.cineclubdecaen.com/realisat/resnais/statuesmeurentaussi.htm, Resnais. Een nogal persoonlijke, indrukwekkende kijk op de Afrikaanse kunst. Aug 31, 2018 - This is "Les Statues Meurent Aussi" by otras disrupciones on Vimeo, the home for high quality videos and the people who love them. Because of its criticism of colonialism, the second half of the film was banned in France until the 1960s.[1][2]. There is less idolatry here than in our saints’ statues. And given that the white is the buyer, given that demand outstrips supply, given that it is necessary to go fast, black art becomes indigenous handicraft. “From the opening minutes to the last, the aesthetic of Les Statues meurent aussi draws attention self–reflexively to acts of looking. (n.d.). Sometimes, one says “no”! Because the familiarity of the dead leads to the domestication of death, to the government of death by means of spells, to the transmission of death, to the charming of death by means of the magic of shells. Our ancestors can look at each other face-to-face without looking down with empty eyes. No. Statues Also Die (French: Les statues meurent aussi) is a 1953 French essay film directed by Alain Resnais, Chris Marker, and Ghislain Cloquet about historical African art and the effects colonialism has had on how it is perceived. Hosted by L'hybride, Lille and Survie Nord. Black upon black, black battles in the night of time, the sinking has left us only with this beautiful striped wreckage which we interrogate. [4] Alter further writes that as the film asserts that colonialism is responsible for the "disenchantment and demystification" of African culture, Statues Also Die "illustrates the process whereby a religious fetish is transformed into a commodity fetish by Western civilization. A mention is made of how African currencies previously had been replaced by European. "Les statues meurent aussi", c'est le titre d'un grand film de Resnais. Footage is seen from a Harlem Globetrotters basketball show, of the boxer Sugar Ray Robinson, and a jazz drummer intercut with scenes from a confrontation between police and labour demonstrators. Everything here is about cult. Les statues meurent aussi : violences symboliques et iconoclastes arabes La « guerre des statues », une expression de la presse arabe, est lancée ! Stream Tracks and Playlists from Les Statues Meurent Aussi on your desktop or mobile device. Here is the fetus of the world. But history has devoured everything. [6], harvnb error: no target: CITEREFAlter2006 (, harvnb error: no target: CITEREFWilson2006 (, https://en.wikipedia.org/w/index.php?title=Statues_Also_Die&oldid=993172937, Documentary films about African resistance to colonialism, Creative Commons Attribution-ShareAlike License, This page was last edited on 9 December 2020, at 04:27. Interweaved with the objects are a few scenes of Africans performing traditional music and dances, as well as the death of a disemboweled gorilla. With Jean Négroni, François Mitterrand, Pope Pius XII, Sugar Ray Robinson. The idea of a dead statue is present throughout the whole film, dead statue is explained as a statue which has lost its original, timely significance and has become reduced to a museum object similarly to a dead person who can be found in history books. Soichi Datsa's research program On a déjà eu l’occasion, dans ce billet , de revenir sur la situation particulière de la sculpture (figurative) au sein des différents arts plastiques. Movies. In the final segment, the film comments on the position of black Africans themselves in contemporary Europe and North America. The virtue of blood. During the last third of the film, the modern commercialisation of African culture is problematised. Ciné-club : Les statues meurent aussi d’Alain Resnais. Les statues meurent aussi (1953). Science, as magic, admits the necessity of the sacrifice of the animal. Le film était une commande de la revue Présence africaine.Partant de la question « Pourquoi l’art nègre se trouve-t-il au musée de l’Homme alors que l’art grec ou égyptien se trouve au Louvre [1] ? Carl the Christmas Clown. Et cela, aussi bien du côté du neuf que des produits Les Statues Meurent Aussi occasion. Frankrijk, 1953, 20 min, documentaire. Le film a été censuré en France pendant huit ans en raison de son point de vue anti-colonialiste. His work is able to provide neither spiritual nor social sustenance, he works for nothing, his reward is nothing but a derisory salary. Notes : Les Statues meurent aussi fut commandé par la revue Présence Africaine (pour laquelle écrivirent notamment Aimé Césaire et Jean-Paul Sartre). This was made in 1953 by three pretty successful filmmakers, namely Chris Marker, Alain Resnais and (not yet) Oscar winner Ghislain Cloquet. We hebben na 25 jaar helaas je hulp nodig! (n.d.). compleet & ongebonden sinds 1995. Réalisé avant le processus de décolonisation qui débuta en 1955, le film fut interdit de diffusion pendant dix ans. That’s because the society of statues is mortal. Statues Also Die. Les statues meurent aussi (1953) Jean Négroni as Récitant, Narrator. The black maintains them nearby to honor them and benefit from their power, in a basket overflowing with their bones. As research continued, the disintegrating effects of colonialism became more prominent in the filmmakers' approach to the subject. Try to distinguish here which one is the Earth and which one is the cloth, which one is the black skin and which one is the Earth seen from an airplane, which one is the bark of the tree and that of the statue. Whilst Les Statues Meurent Aussi looked at our irrevocable connection to past mistakes, Tout le Memoire du Monde counteracts this guilt, showing instead that we consciously imbue objects with our identities and our memories in fear of our subjective eradication. This wooden cup is a chalice. "[5], The film was commissioned from Marker and Alain Resnais by the journal Présence Africaine in 1950. Magiciens reconsidered 1: From Exhibition to Screen – Film at Tate Modern | Tate. Here is the first division of Earth. The magic of cinema both imbues inanimate objects with life and carries out the mortification of living subjects," something she also connects to the footage of the dying gorilla. Which cult presided over this little republic of night? Commandité par la revue Présence africaine à l’aube des décolonisations, ce documentaire interroge avec virulence la place de l’art nègre en Occident. Fandango Screen Reader Users: To optimize your experience with your screen reading software, please use our Flixster.com website, which has the same tickets as our Fandango.com and MovieTickets.com websites. 55 Tracks. AKA: Statues also die. Rediffusion : Les Statues meurent aussi ou la question de l'Art nègre dans les années 1950 en replay sur France Culture. Mais c’est aussi un film sur les ravages du #colonialisme en Afrique et la lutte des classes. It is always against death which one fights. Musée des Confluences. Contemporaries of Saint Louis, of Joan of Arc, they are even more unknown to us, than those of Sumer and Babylon. Les statues meurent aussi de Alain Resnais et Chris Marker. L’élan mondial qui met à bas les monuments dédiés à des figures esclavagistes et colonialistes n’a rien d’inédit. Temporal power practices the same austerity. But that which we make disappear from Africa doesn’t count for much among us compared to what we have in store. Il fut commandité par la revue Présence africaine. It is the whites who intend to take on the role of the ancestors. Skip to Main Content Prayer for motherhood, for the fertility of women, for the children’s beauty, it can be covered with ornaments which have the value of illuminations. But each of the two influences destroys the other one. Las Estatuas También Mueren [Chris Marker - Alain Resnais] - Subtítulos Español ... YouTube- Personal Taste Ep.11-3/6 Eng. Not as boring as it sounds and looks on the movie poster. Ancien secrétaire de Jean Moulin pendant la Seconde guerre mondiale, Daniel Cordier (né en 1920), marchand de tableaux et collectionneur, est à l’origine d’une des plus grandes donations d’œuvres d’art à l’Etat français, dont la grande majorité est en dépôt à Toulouse, aux Abattoirs. Art of the present time, between a lost greatness and another to conquer.