J > Ja
— — — — —
JABŁOŃSKI, DARIUSZ (1961)
p > | POLAND |
— — — — —
Photographer (1998, 52 min)
BETWEEN 15-60 MIN |
— — — — — 1990s
JACOBS, KEN (1933)
u > | U.S.A. |
— — — — —
Celestial Subway Lines / Salvaging Noise (2004, 67 min)
— — — — —
The Georgetown Loop (1996, 11 min)
BETWEEN 0-15 MIN |
Disorient Express (1996, 30 min)
— — — — — 1990s
JAFFE, STEVEN CHARLES
u > | U.S.A. |
— — — — —
It Was a Dark and Silly Night (2008, 5 min)
BETWEEN 0-15 MIN |
— — — — — 2000s
JAHN, GUSTAVO (1980)
DULLIUS, MELISSA (1981)
b > | *BRAZIL | g > | GERMANY |
— — — — —
Muito Romântico (2016, 72 min)
BETWEEN 60-120 MIN |
Fotokino (2012, 3 min)
BETWEEN 0-15 MIN |
— — — — — 2010s
Éternau (2006, 21 min)
BETWEEN 15-60 MIN |
— — — — — 2000s
JAKAITĖ, SKIRMANTA (1969)
l > | LITHUANIA |
— — — — —
We May Meet, We May Not (2011, 8 min)
BETWEEN 0-15 MIN |
— — — — — 2010s
JAKUBISKO, JURAJ (1938)
c > | CZECHIA | s > | *SLOVAKIA |
— — — — —
Crucial Years (1967, 95 min)
— — — — — 1960s
JANCSÓ, MIKLÓS (1921-2014)
h > | HUNGARY |
— — — — —
My Way Home (1964, 109 min)
BETWEEN 60-120 MIN |
— — — — — 1960s
MY WAY HOME (25 Mar 2015)
First, it’s breathtaking to see a mermaid (whose natural habitat is water) to run so fast over land.
Second, it’s praiseworthy when a soldier is brave enough to use his weapons and ammunition as creative tools to make in the midst of warfare a site-specific audio-visual intervention.
In first half of 20th century, it was F. T. Marinetti who recognized the poetic dimension of bombardment...
1 2 3 4 5 seconds siege guns split the silence in unison tam-tuuumb sudden echoes all the echoes seize it quick smash it scatter it to the infinite winds to the devil
In the middle these tam-tuuumb flattened 50 square kilometers leap 2-6-8 crashes clubs punches bashes quick-firing batteries. Violence ferocity regularity pendulum play fatality
...these weights thicknesses sounds smells molecular whirlwinds chains nets and channels of analogies concurrences and synchronisms for my Futurist friends poets painters and musicians zang-tumb-tumb-zang-zang-tuuumb tatatatatatatata picpacpampacpacpicpampampac uuuuuuuuuuuuuuu
ZANG-TUMB
TUMB-TUMB
TUUUUUM
… or could perceive a battle as if played by an orchestra (and was able to put it in free-words-description)...
every 5 seconds siege cannons gutting space with a chord ZANG-TUMB-TUUMB mutiny of 500 echos smashing scattering it to infinity. In the center of this hateful ZANG-TUMB-TUUMB area 50square kilometers leaping bursts lacerations fists rapid fire batteries. Violence ferocity regularity this deep bass scanning the strange shrill frantic crowds of the battle Fury breathless ears eyes nostrils open! load! fire! what a joy to hear to smell completely taratatata of the machine guns screaming a breathless under the stings slaps traak-traak whips pic-pac-pum-tumb weirdness leaps 200 meters range Far far in back of the orchestra pools muddying huffing goaded oxen wagons pluff-plaff horse action flic flac zing zing shaaack laughing whinnies the tiiinkling jiiingling tramping 3 Bulgarian battalions marching croooc-craaac [slowly] Shumi Maritza or Karvavena ZANG-TUMB-TUUUMB toc-toc-toc-toc [fast] crooc-craac [slowly] crys of officers slamming about like brass plates pan here paak there BUUUM ching chaak [very fast] cha-cha-cha-cha-chaak down there up around high up look out your head beautiful! Flashing flashing flashing flashing flashing flashing footlights of the forts down there behind that smoke Shukri Pasha communicates by phone with 27 forts in Turkish in German Allo! Ibrahim! Rudolf! allo! allo! actors parts echos of prompters scenery of smoke forests applause odor of hay mud dung I no longer feel my frozen feet odor of gunsmoke odor of rot Tympani flutes clarinets everywhere low high birds chirping blessed shadows cheep-cheep-cheep green breezes flocks don-dan-don-din-baaah Orchestra madmen pommel the performers they terribly beaten playing Great din not erasing clearing up cutting off slighter noises very small scraps of echos in the theater area 300 square kilometers Rivers Maritza Tungia stretched out Rodolpi Mountains rearing heights loges boxes 2000 shrapnels waving arms exploding very white handkerchiefs full of gold srrrr-TUMB-TUMB 2000 raised grenades tearing out bursts of very black hair ZANG-srrrr-TUMB-ZANG-TUMB-TUUMB the orchestra of the noises of war swelling under a held note of silence in the high sky round golden balloon that observes the firing...
In second half of 20th century, the main proponent of this genre was I. Xenakis...
According to Xenakis, his idea for creating one unified physical, visual and auditory space for performance dates back to two early events in his life. First, as a student, he was asked to direct a tragedy of Aeschylus. … The second, more indirect yet perhaps more profound influence came from Xenakis’ experience as a leading member of the student Resistance movement in the streets of Athens during the Greek revolution, from 1941 until his fleeting the country in 1947. “Whether you like it or not, simultaneous visual and auditory events that are both specific and extraordinary, without any apparent connections, enter one’s brain when experienced as fighting in the streets. For example, speeding bullets of various colors plus their trajectories — all of that was visually striking. They can be compared to the movements of celestial bodies, comets, falling stars. I witnessed bombings — those were extraordinary. Not to mention the army’s searchlights (since there wasn’t radar then), which created a stunning ballet in the sky. Plus the explosions, plus… All of that created a fantastic spectacle, one that can never be seen in times of peace. Fortunately, in fact; or unfortunately, from a visual point of view.”
In 1978, during his “feast in light, movement, and sound” called “Polytope de Mycenes” (aided also by Greek Ministry of Defense)...
Anti-aircraft searchlights from all the surrounding hills webbed the sky with their beams — from nearby Tiryns and from Argos ten kilometers distant, as the heavens which flashed from hilltop to hilltop warning Clytemnestra of Agamemmnon’s approach; then formed a static pyramid of light, its apex above the citadel, in triumphant reunion.
On a movie screen I could spot this motive (of a soldier using weapons and ammunition as creative tools to make in the midst of warfare a site-specific audio-visual intervention) only in Werner Herzog’s “Signs of Life” so far. Now, I know about one more such a film (due to the scene of shooting into the minefield).
— — — — —
JANCZAK, JAN J. (1938)
p > | POLAND |
— — — — —
Aqua Pura (1970, 8 min)
— — — — — 1970s
JANEČEK, VÍT (1970)
c > | CZECHIA |
— — — — —
Fungus | Houba (2000, 57 min)
BETWEEN 15-60 MIN |
— — — — — 2000s
JANKOVEC, BORIS (1979)
c > | CZECHIA |
— — — — —
Jan Patočka about the Soul and Politics | Jan Patočka o duši a politice (2015, 43 min)
BETWEEN 15-60 MIN |
— — — — — 2010s
JAN PATOČKA ABOUT THE SOUL AND POLITICS (19 Jan 2016)
trivial fallacies (Trutnov/Turnov) = cornerstones of the mythmaking
philosophical traditions, philosophical genres (phenomenology f.e.), canonical texts, philosophical elocution, philosophical pantomime (gesticulation and mimics making philosopher’s role-playing convincing), expounding on a philosophical problem as a breathing exercise
— — — — —
JAVIDI, NIMA (1980)
i > | IRAN |
— — — — —
Melbourne (2014, 93 min)
— — — — — 2010s