I am less interested in actors than I am in ‘characters’. An actor reads the script and plays the scene as it is written, or follows directions given to him by the filmmaker. But a ‘character’ has his own way of doing it and that makes the scenes interesting. I am not so concerned with the story as I am with the characters and the relations they have with each other.
the entire film, is based primarily on fraternities, similarities, the formation of constellations whereby something in one element forms a continuity with something else in another element each sharing aspects of love and death, embracing and parting, a recitative and a love song, kisses and blood, hence their partial not completely aligned overlaps as layers or sheets of similarities that emphasise accords and also differences in gaps of time, space, place, action, substance.
I do the shot and then cut it because I feel in general that we ought to work against what we have done. You do something and contradict it, then contradict the contradiction and so on. Vitality is precisely due to the ability to contradict oneself constantly, to deny oneself and eventually you discover that you haven’t contradicted yourself but rather followed your very own truth. Bertolucci
There is a considerable gap in the classical film and in Visconti’s films between what fictively is represented to have happened and the instance of the representation-narration of it. The film transforms (represents) past events, words, gestures, characters into a fictional immediacy (as if they are in the present). In fact, such narratives are primarily an evocation and memory of the past expressed in the present
The notion of deconstruction is not exactly a taking apart of structures as it is the awareness that all structures contain within them their contrary and hence an instability. It was not that the French Nouvelle Vague critics dismantled classicism but that they perceived another system within it, another possibility, hence another cinema. Thus, classicism was not to be denounced, contested or displaced, but appreciated not simply for what was there, but what could be in what was there.
There are multiple stories and narratives in La tragedia that encounter each other, move in parallel, add to each other, contradict each other, coagulate. The images of La tragedia are crisp and crystalline in contrast to the obscurity of its narrative of hiding, denying, dissembling, in effect, is Shakespearian, a comedy of errors. The clearer the image, the more puzzling, opaque and confusing are the events depicted.
Belonging, for Godard, is not a line of connections, but an overlapping and telescoping of associations such that relations over vast distances of space, time and context are brought together, for example, Mozart, Marivaux, Musset, Godard, Sarajevo, Palaces, hovels, Switzerland, and in this bringing together something is released and both are saved.
Film noir is essentially a style, a night time film where shadows and murky grays predominate. Dim reflections and shimmering electric lights create an unstable, uneasy, disquieting space, a nightmare world of insecurity and danger. It was the qualities of unreality and threat in film noir and the themes of power and money that attracted Welles.
Though objects and associations tended to coalesce on contact, they also tended to disperse, going off in different directions to their origins and beyond, making of the exhibition a map of pathways and possible journeys that exceeded it, defying any presumed unity. No one thing sufficed, each was particular (none ‘served’ an apparent function) and all were plural because they suggested multiple places and entries.