Dance

Notes from the 'Naked Lunch' by William Burroughs

"We friends, yes?"

  The shoe shine boy put his hustling smile and looked up into the Sailor's dead, cold, undersea eyes, eyes without a trace of warmth or lust or hate or any other feeling the boy had ever experienced in himself or seen in another, at once cold and intense, impersonal and predatory.

Notes from "Illuminations - The films of Yervant Gianikian and Angela Ricci Lucchi

programme:
Mario Giacomelli: Contacts, 1993, 35mm, black and white, 13'
Animali Criminali, 1994, 16mm, colour, silent, 7'
Lo Specchio di Diana (The Looking Glass of Diana), 1996, video, colour, soundtrack by Keith Ulrich, 31'


History and memory
Body and embodiment
Death and cinema

Materiality of film (textures, speed, temporal disturbances, colour) that leads to the imaginary, experienced as a haunting.
Photographers as explorers
Cinematographic pornography
Symbology of fascism - invisible hand puts one creature against another (Animali Criminali)
The image with the grammar of cinema
Secrets on top of secrets on top of secrets
Cinematic archaeology
Ships of the desert = camera
Mussolini : Everyone wants to touch his hands but he's wearing gloves (forms of behaviour)
Sensory cinematography - the 'touch' (contact, missing contact)

from "snow white terror tale"

You can see 

and you can hear

but from inside the tomb of your mind

no breath will escape your lips

no tears your eyes

to the world you are dead

And soon, even your precious father will forget you were ever alive

But you my dear

you will have all the eternity

to remember

There is the blueprint