{"id":299,"date":"2014-03-11T13:16:30","date_gmt":"2014-03-11T12:16:30","guid":{"rendered":"https:\/\/yannbeauvais.com\/?p=299"},"modified":"2014-09-20T15:30:02","modified_gmt":"2014-09-20T14:30:02","slug":"work-and-progress","status":"publish","type":"post","link":"https:\/\/yannbeauvais.com\/?p=299","title":{"rendered":"Work and Progress"},"content":{"rendered":"
\n

en\/em 16mm \u00a0double \u00e9cran \/ twin screen\/ dopla telas<\/p>\n

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

extrait\/ extract\/ extrato\u00a0https:\/\/www.youtube.com\/watch?v=-QgiRuK1sUQ<\/p>\n<\/div>\n

\n
\n

Cor\u00e9alisation : Vivian Ostrovsky\u00a0www.vivianostrovsky.com<\/a><\/p>\n

En 1990, Vivian et moi sommes all\u00e9s ensemble \u00e0 un festival de films \u00e0 Riga puis \u00e0 Moscou, pour quelques jours. Nous filmions tous les deux en Super-8. Je d\u00e9veloppai et fis un film avec ce m\u00e9trage alors que j\u2019enseignais \u00e0 Tampa en 1991. Cela devint We\u2019ve got the red blues. Malgr\u00e9 ce film, nous avions toujours pens\u00e9 r\u00e9aliser un film ensemble dont l\u2019origine serait les s\u00e9quences que nous avions tourn\u00e9es l\u2019un et l\u2019autre \u00e0 Moscou.Work and Progress<\/i>\u00a0est ce film, qui articule nos images de Moscou avec des films d\u2019archives de provenances diverses (des bandes d\u2019actualit\u00e9s autant que des extraits de films d\u2019Eisenstein et Vertov) ainsi que des journaux film\u00e9s s\u2019\u00e9talant au moins sur trois d\u00e9cades. Il s\u2019agit d\u2019une d\u00e9ambulation \u00e0 travers le paysage d\u2019une ville qui est soumise \u00e0 l\u2019empire du clich\u00e9. Ce film n\u2019aurait pas \u00e9t\u00e9 possible sans l\u2019aide de Tania Cypriano, la Cin\u00e9math\u00e8que de J\u00e9rusalem et la confiance de Vivian.<\/p>\n

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

\u00ab\u00a0D\u2019un court s\u00e9jour \u00e0 Moscou, qu\u2019il d\u00e9couvrait pour la premi\u00e8re fois en 1990, yann beauvais a con\u00e7u deux films. D\u2019une part,\u00a0We\u2019ve got the red blues<\/a><\/i>\u00a0(1991), un journal film\u00e9 \u00e0 la mani\u00e8re d\u2019Amoroso et de\u00a0Divers-\u00c9pars<\/a><\/i>, o\u00f9 se m\u00e8lent impressions visuelles et m\u00e9moire cin\u00e9matographique des lieux. D\u2019autre part, Work and progress, compos\u00e9 en bin\u00f4me avec Vivian Ostrovsky et projet\u00e9 sur double \u00e9cran, manifestant ainsi une volont\u00e9 de diversifier les points de vue et d\u2019\u00e9carter toute lecture globale. Les s\u00e9quences tourn\u00e9es par les deux cin\u00e9astes \u00e0 Moscou sont entrecoup\u00e9es de nombreuses images d\u2019archive extraites de bandes d\u2019actualit\u00e9 et de films de Serguei Eisenstein et Dziga Vertov. L\u2019articulation et le rythme saccad\u00e9 des s\u00e9quences, selon une division territorialis\u00e9e co\u00efncidant avec la diversit\u00e9 des plages de temps de la vie urbaine qui se succ\u00e8dent ou se superposent (repos, d\u00e9placement, travail, communication, loisir, consommation, politique, religion…) peut \u00e9voquer\u00a0l\u2019Homme \u00e0 la Cam\u00e9ra<\/i>\u00a0(1929) de Vertov. Contrairement aux autres films de yann beauvais dans lesquels la pr\u00e9sence humaine est plus sugg\u00e9r\u00e9e que montr\u00e9e (par le biais de l\u2019architecture, fa\u00e7ade refl\u00e9tant l\u2019empreinte de l\u2019homme) ici, \u00e0 plusieurs reprises sont donn\u00e9s \u00e0 voir des rassemblements de foule dans l\u2019espace urbain (qu\u2019il s\u2019agisse d\u2019extraits de parades militaires, de vues d\u2019un march\u00e9, d\u2019un attroupement autour d\u2019un kiosque \u00e0 journaux…). Sur fond de chants populaires russes, ce film reconstitue une \u00e9pop\u00e9e a-historique dans laquelle architecture et hommes t\u00e9moignent de l\u2019invincible dualit\u00e9 constitutive de la vie entre permanence et mobilit\u00e9 : si la statue de Staline d\u00e9boulonn\u00e9e, remet \u00e0 l\u2019honneur les coupoles d\u2019\u00e9glises orthodoxes, la mis\u00e8re du peuple est toujours \u00e9vidente.\u00a0\u00bb Muriel Caron<\/p>\n

\u0152uvre appartenant \u00e0 la cin\u00e9math\u00e8que de Jerusalem et au MOMA (New York)<\/p>\n<\/div>\n

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

When we returned from a trip to Russia in 1990, armed with our super 8 cameras, yann beauvais and myself decided to share our images and make a 4-handed film. We agreed to mix what we had shot with other material that meant something to us in that context and edit the film together. For yann, the references for Russia were classics he had seen, such as Vertov and Eisenstein. Mine were the Cold War years and propaganda films I\u2019d been exposed to on my annual trips to visit family in the USSR in the late 60\u2019s, 70\u2019s and 80\u2019s.
\nWe also wanted a twin screen projection wherein all the footage would be mixed rather than have a \u00ab\u00a0his\u00a0\u00bb and \u00ab\u00a0her\u00a0\u00bb screen.
\nThis double imaged film is a collage of S8 and archival material and the sound track is made along similar lines. We used mainly Russian sounds : music of all kinds, some excerpts of Lenin\u2019s speeches and some street recordings.
\nOriginally the film was projected on two 16mm projectors placed side by side. Both images have been now transferred and blown up to 35mm film with the 2 images side by side.<\/p>\n

In 1990, Vivian and I went to a film festival in Riga and then we went to Moscow for a couple of days. We were both shooting in super 8. I process and edited my footage while teaching in Florida in 91 it became :\u00a0We\u2019ve got the Red Blues<\/a><\/i>. Despite that film, we always thought that we will make a film together based at least (at a starting point) from those footage.<\/p>\n

Work and Progress<\/i>\u00a0is such a project which articulate our images of Moscow with archival footage (newsreel as much as work by Eisenstein and Vertov), and diary films from at least three decades. A wandering through landscape and memories loaded with cinematic clich\u00e9s.<\/p>\n

Film belonging to the Cin\u00e9matheque of Jerusalem and to the MOMA (New York)<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

en\/em 16mm \u00a0double \u00e9cran \/ twin screen\/ dopla telas extrait\/ extract\/ extrato\u00a0https:\/\/www.youtube.com\/watch?v=-QgiRuK1sUQ Cor\u00e9alisation : Vivian Ostrovsky\u00a0www.vivianostrovsky.com En 1990, Vivian et moi sommes all\u00e9s ensemble \u00e0 un festival de films \u00e0 Riga puis \u00e0 Moscou, pour quelques jours. Nous filmions tous les deux en Super-8. Je d\u00e9veloppai et fis un film avec ce m\u00e9trage alors que […]<\/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":[96,25],"class_list":["post-299","post","type-post","status-publish","format-standard","hentry","category-films","tag-diray","tag-found-footage"],"acf":[],"_links":{"self":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/299","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=299"}],"version-history":[{"count":5,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/299\/revisions"}],"predecessor-version":[{"id":761,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/299\/revisions\/761"}],"wp:attachment":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=299"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=299"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=299"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}