{"id":241,"date":"2014-03-10T12:24:54","date_gmt":"2014-03-10T11:24:54","guid":{"rendered":"https:\/\/yannbeauvais.com\/?p=241"},"modified":"2014-09-20T16:30:02","modified_gmt":"2014-09-20T15:30:02","slug":"spetsai","status":"publish","type":"post","link":"https:\/\/yannbeauvais.com\/?p=241","title":{"rendered":"Spetsai"},"content":{"rendered":"

Un pr\u00e9texte : le journal film\u00e9 d\u2019un s\u00e9jour dans une \u00eele grecque en janvier dernier. Originellement tourn\u00e9 en Super-8, puis gonfl\u00e9 en 16 mm , le film a subi une transformation suppl\u00e9mentaire apr\u00e8s le montage, par l\u2019adjonction de texte.<\/p>\n

\"Spetsai<\/a><\/p>\n

Le texte permet \u00e0 la fois la suspension du d\u00e9roulement en ce qu\u2019il fait passer l\u2019image au second plan mais aussi en ce qu\u2019il lui conf\u00e8re une signification autre. Jeu de texte et de l\u2019image qui permet, \u00e0 partir d\u2019\u00e9l\u00e9ments de journaux, d\u2019aborder d\u2019autres domaines ainsi que pouvait l\u2019esquisser \u00e0 sa mani\u00e8re Divers-\u00e9pars.<\/p>\n

\"Spetsai<\/a><\/p>\n

\u00ab\u00a0Avec\u00a0Spetsai<\/i>, beauvais se d\u00e9fausse de l\u2019insolente beaut\u00e9 des lieux de vill\u00e9giature film\u00e9s, en incrustant dans les images un texte extrait de Commentaires sur la\u00a0soci\u00e9t\u00e9 du spectacle<\/i>\u00a0de Guy Debord. Au caract\u00e8re dionysiaque des paysages m\u00e9diterran\u00e9ens r\u00e9pond la gravit\u00e9 du texte de Debord sur la radioactivit\u00e9 et la politique du secret nucl\u00e9aire des \u00c9tats. N\u2019est-ce pas notre propre schizophr\u00e9nie existentielle que le film d\u00e9voile ici ? Les dangers quotidiens et permanents, les malheurs de l\u2019humanit\u00e9, les holocaustes, massacres, que nous d\u00e9livrent quotidiennement les media ne nous emp\u00eachent pas de continuer \u00e0 vaquer \u00e0 nos occupations comme si de rien n\u2019\u00e9tait. C\u2019est bien ce paradoxe terrible de l\u2019\u00eatre humain, r\u00e9v\u00e9l\u00e9 avec acuit\u00e9 par la soci\u00e9t\u00e9 contemporaine, que yann beauvais nous \u00ab jette \u00e0 la figure \u00bb. La fa\u00e7on dont le texte appara\u00eet \u00e0 l\u2019image n\u2019est pas neutre : pr\u00e9sent\u00e9 deux lignes par deux lignes, il est tributaire pour sa lecture du montage du film. Son ind\u00e9pendance par rapport \u00e0 l\u2019image place le spectateur dans une situation qui diff\u00e8re radicalement des conditions de lecture textuelle d\u2019un film narratif sous-titr\u00e9. Le d\u00e9bit des images pr\u00e9d\u00e9termine le rythme d\u2019une lecture qui ne peut \u00eatre que mn\u00e9monique, selon un ordre immuable : 1. lecture du texte \/ 2. m\u00e9morisation du texte \/ 3. lecture des images \/4. synth\u00e8se des deux et ainsi de suite. Le montage cin\u00e9matographique impose son propre mode de lecture du \u00ab message \u00bb; cependant le contenu du texte impose \u00e0 son tour un ordre des choix, des tris, des analyses des constituants cin\u00e9matographiques. Le fil d\u2019un texte visionnaire et terriblement actuel a valeur d\u2019antidote \u00e0 une d\u00e9rive esth\u00e9tisante que le cin\u00e9aste refuse; il s\u2019impose comme pr\u00e9alable \u00e0 une contemplation des images qui ne peut \u00eatre suffisante.\u00a0\u00bb Jean Michel Bouhours<\/p>\n

\"Spetsai<\/a><\/p>\n

At first a diary film of a sojourn on a Greek island last January. Originally filmed the Super 8, then blown up to 16mm, the film has undergone a supplementary transformation, after editing, by the joining of a text. The text permits a suspension to the film unfolding, in that it makes the image pass into the background while also giving it, the image, another signification. Play upon text and image which enables, starting the elements of a diary, souvenir, an approach into other areas, just as Divers Epars, sketched in its own way another approach. yann beauvais<\/p>\n

\u00ab\u00a0Cheap lyricism! Perverted poetics! \u00ab Just pretty stuff \u00bb (As if something this viscerally sensual could ever be mere prettiness!) Subvert the hackmeister and his big chop, slash\u2019n\u2019burn wish. In unison, loudly: Pleasure isn\u2019t necessarily mere frivolousness, and, anyhow, the occasional frill isn\u2019t just a flirt! This too, elicits an awed-ah response: SPRING SPETSAI BUDS SMELL SWEET ha! ha! TIPTOE THROUGH THE RADIOACTIVE LANGUAGE, BUSTER. No, pleasure isn\u2019t just frivolous. (squirm and writhe) Glerps. Get it: mental meddling can also be tinkling with the erogenous zones. Shall I say: beings fully engaged in the act of watching. The brain operates the heart pumps the blood to the brain, interconnected, as are these aspects – emotional\/intimate, cerebral\/theoretical – facets of a celluloid gem, emitting and refracting its colour, light, sense and time beyond the screen.
\nAdamant bully dad Dad? He threatens, but fortunately doesn\u2019t slice out. Or just that which interferes with the rhythm; he\u2019s got a keen ear for that. A slice can be a splice can be the pinch of spice.\u00a0\u00bb Sandra Reid<\/p>\n

\"Spetsai<\/a><\/p>\n

\u00a0\u00bb Emerging from the blue into sharp dappling strokes; waves. The edge od the winter sea. An orange in a tree, in January, fruit shuddering forth from a green and blue shot haze, taking focus but only just, as if suddenly round and dazzling with sunlight -; a small sun hung in the trees and then gone, quickly a shiver becoming part of the smudge stutter of images as they turn from land to sea lapping close, rocks close, stone. Textures washed sharp, tense. A clarity of colour blurring and the judder jump movement; the green slide focussing out of a leaf, near to its surface making the leaf appear from a chamber of light, then a branch and branching, a tree and this thicket of green a filter for the wall which hovers behind it, moving through in a white blaze and further along the branch, close again, the ball of copper shimmering from its dozing shade takes shape in a brief orb of vibrant orange. The winter crisp light and landscape of a voyage on an island, Spetsai. Tripping on the diary journey ; a man and a donkey on a stony path, hot heads of flowers, the glimpsing of water and air so pure. Over the sky slung water pieces of cloud in the metallic titles of waves, dipping across and down, plunge the hand in a dive rippling the mirror of the sea floor deeper below, sky into ocean. POLLUTION. Hangs the word over the luscious lapse of holiday just at the point of succombing to the sway of island, view out from land, tumbling of flowers in a lilt to, hills tilting to water. NUCLEAR, when up-to-the-hilt-secure in the resplendent eternal thrill of nature, basking on the rhythm POLLUTION (by any other name would smell as sweet). Get your hand out of the water. Juxtaposition of language insidiously infecting the image, cutting across them and with its static linear horizon blocking any attempt to hook on the colour and movement. Lustre of words enforced and assured by sound printing firmly on the screen, this site the beginnings of western thinking and just around the corner the bleach of the black industry (whitened when they can from the waste). Beach POLLUTION on the holiday idyll still travelling like a backdrop, swung from the high balm of ocean now absorbing words, words. End. Go now it blows. The images holding a different reading, interprete those postcards; having a lovely time, so beautiful, wish…pleasure threatened and not only pleasure. Get there now but too late, SPECTACLE to look at but looking means you\u2019re a part of it, water in high and low tide, corruption inlaid DISTORTION rendering passive, how fantastic when it blows except you\u2019ll blow with it. Lovely to look at, lovely to behold (forgetting the sewage outfall) thought leading (forgetting everything) NUCLEAR SPECTACLE. SUGAR COATED; much sweet bribes, look, CATASTROPHE.\u00a0\u00bb
\nSandra Reid 1989<\/p>\n","protected":false},"excerpt":{"rendered":"

Un pr\u00e9texte : le journal film\u00e9 d\u2019un s\u00e9jour dans une \u00eele grecque en janvier dernier. Originellement tourn\u00e9 en Super-8, puis gonfl\u00e9 en 16 mm , le film a subi une transformation suppl\u00e9mentaire apr\u00e8s le montage, par l\u2019adjonction de texte. Le texte permet \u00e0 la fois la suspension du d\u00e9roulement en ce qu\u2019il fait passer l\u2019image […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-241","post","type-post","status-publish","format-standard","hentry","category-films"],"acf":[],"_links":{"self":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/241","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=241"}],"version-history":[{"count":4,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/241\/revisions"}],"predecessor-version":[{"id":787,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/241\/revisions\/787"}],"wp:attachment":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=241"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=241"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=241"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}