Screening of « Barcelona Hotel » by Benoît Labourdette (4’48, 2012). On September 28, 2013.
The film was awarded by the Marguerite Duras prize.
The jury was constitued by : Vincent Dieutre (filmmaker), Zoé Chantre (artist), Nicolas Thévenin (film programmer), Cécile Déroudille (filmmaker).
Pierre and Dominique Laudijois, founders of Independent Film Festival of Chateauroux (which no longer existed for several years, in which my first feature film “Head in the Water” was awarded in 1995) propose, within the framework of “Olonne Film Festival” programming “Cinema & autobiography” (27-28 September 2013).
In this context, they show my film “Hotel Barcelona”.
Website of the festival: www.petitelanterne.fr/site.
Intentions of this program
(Original text in this page: www.petitelanterne.fr/site/Cinema_%...)
- How the cinema he able to autobiography?
- How the autobiography she used to make movies?
It is not (only) the film autobiography literally before us, it is rather a practice that we would call the film (and we are not the first to use this expression) CINEMA IN THE FIRST PERSON. Practice of cinema that is as old as the seventh art - in fact, we can say that the Lumière brothers and Georges Méliès already filming “first person” - a practice that has experienced a boom in the years 1950-1980, with to 16 mm and the Super8 (Jonas Mekas, Joseph Morder and Alain Cavalier, go fast) and is growing today, since video and digital means of mounting are widespread, and that social networks have facilitated broadcasting images.
What seems central is the first opportunity for a filmmaker to work ONLY (or almost), so to escape (or believe he can?) Technical burdens and ideological constraints of the capitalist industry and spectacular institutional cinema.
We therefore propose to appoint JE-filmmaker who is, mutatis mutandis, to face his film as a writer facing his novel, or a painter in front of his table, face to face. JE-movies ARE NOT ALL newspapers filmed! It may be documentary, testing, experimentation, and even fiction, as evidenced by the film Brigitte Sy, Free Hands (The director was one of the guests of honor at our Days of 2012).
In addition, it is not compulsory that I-filmmaker is an isolated individual, self-sufficient (to use the beautiful expression of Nanni Moretti). An I-filmmaker may be the result of a collective work, as in the couple Straub-Huillet, or alternative bands of the 70s (Dziga-Vertov Group Groups Medvedkine ...). Moreover, the I-cinema makes sense only if the individual point of view that has managed to achieve a certain universality.
For all these reasons, we believe that there is a vast field to browse and explore the cinema of yesterday and that of today, which are emerging postures individual or collective resistance against the world as it will (badly).
In December 2010, we invited JE filmmakers to confront our productions. From 6 to 8 April 2012, Little Lantern proposed a first appointment I-filmmakers, entitled DAYS FILM & AUTOBIOGRAPHY. We hope that this event will become annual ...
Ten questions (among others ...)
- # Can we write that autobiography is a personal expression that the object is the subject itself?
- # How to determine the autobiography of a film coefficient?
- # From an autobiographical work when she appeals to a “large” audience (beyond the inner circle of the creator)? How is the passage from the particular to the general?
- # Does the presence of history is essential?
- # Filming his family, is it autobiographical? The home movies are they automatically autobiographical?
- # The autobiography she will assume an autobiographical?
- # The log (written or filmed) is it automatically autobiographical?
- # The autobiography is it inevitably a false reconstruction?
- # The autobiography she organically bound up with the fear of death?
- # The autobiography is it necessarily melancholic and / or desperate?
We thank Alain Bergala and ACOR (Association of Cinemas West for Research) who allowed us to use the term I-IS-A-FILM, which was the title of a book published in 1998 support a program of cinema in the first person, a work that has helped us in our thinking.
You can buy this book at the following address: