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February 1997, Week 2

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From:
Peggi Weaver <[log in to unmask]>
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Date:
Wed, 12 Feb 1997 16:10:30 -0300
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I'm wondering if concentration on the dryness of the spoken word of Las
Hurdes
and the shock value of using the word "idiots" is being superimposed on
the contrast and contradictions that abound in the "yes, but" film.
From the crititisms I've read the "shock" came from the images.
 
I agree in LAS HURDES, VIRIDIANA objectify the poor but I question the
idea of objectication/exploitation in LOS OLVIDADOS. If is so then the
list would have to include CINEMA NOVA from Brazil: Glauber Rocha's AN
AESTHETIC OF HUNGER, Nelson Pereira's BARREN LIVES, and post-Novo
Babenco's LUCIO FLAVIO & PIXOTE.  Babenco received death threats for
LUCIO FLAVIO - was the film exploitive, objectifying or subjectifying?
The list of thes films goes on, EL LUTE/RUN FOR YOUR LIFE by Vincente
Aranda, THE WILD CHILD by Truffaut, CALUGA O MENTE by Gonzalo
Justiniano, JEAN DE FLORETTE, LOS SANTOS INNOCENTES, EL LADO OSCURO DEL
CORAZON.
 
Returning to Bunel what has fasinated has been the objectification of
the church, including LAS HURDES. Here I find Bunel begins to form a
pattern on his later works.  Here in Chile a few years ago two films
involved in Spanish Film Festival touring 16 countries were banned.  One
for using "Harsh Street Language" and the other we never found out why.
In there place VIRIDIANA as shown.  I'm sure Bunel would have
appreciated this as much as I did.
 
When exploring the image use of the "idiots" I'd counterpoint it with
the hunchback in JEAN DE FLORETTE and the drawf in DE ESO NO SE HABLA.
Bembergs film demonstrates the contradictions of acceptance and non
acceptance of "difference".
 
chao
 
Peggi
 
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