#Hans-Jürgen Syberberg

[queer-ragnelle]

Parsifal (1982) directed by Hans-Jürgen Syberberg is now available! Check out genderfluid Percy!

[rwpohl]

hitler, ein film aus deutschland, hans-jürgen syberberg 1977

[queerographies]

[Sotto il segno di Saturno][Susan Sontag]

Sotto il segno di Saturno raccoglie alcuni tra i più brillanti saggi pubblicati da Susan Sontag negli anni Settanta.

Sotto il segno di Saturno raccoglie alcuni tra i più brillanti saggi pubblicati da Susan Sontag negli anni Settanta. In quest’affascinante galleria critica di grandi melanconici della letteratura e dell’arte, Sontag delinea con acutezza i tratti febbrili e le apatie, le provocazioni e le risacche, le tenaci ossessioni e i piaceri stravaganti che innervano le opere di alcuni autori chiave della…

[davidhudson]

Happy 88th, Hans Jürgen Syberberg.

[tomafome]

Penthesilea: Hans Jürgen Syberberg & Edith Clever (1988). Original text: Heinrich von Kleist. Compiled and edited, photographs and text: Hans Jürgen Syberberg. Co-prod. Schauspiel Frankfurt/Berlin Kulturstadt Europas 1988/Paris Festival d’Automne. Premiere: Schauspiel Frankfurt, 16-4-1988. The photographs were taken in the autumn of 1987 during the rehearsals at the Théâtre des Bouffes du Nord and during the shooting of the film in 1988. Il y a déjà eu, en septembre 39, un projet de film sur «Penthesilea» présenté sous forme d’exposé par Leni Riefenstahl. Là-dessus vint une autre guerre qui en empêcha la réalisation. Hitler, dans les actualités de la deuxième guerre mondiale, l’appelait son Heldenlied, sa chanson de geste—Heldenlied comme tous les films que L.R. a tournés en ersatz ou en ébauche de ce drame sanglant et funeste! Plus tard, il y eut encore un projet où Brigitte Bardot devait reprendre le rôle. Destin de l'art après guerre... Donc, maintenant, théâtre et film pensés l'un dans l'autre; le tumulte des éléments représenté, non pas dans un paysage naturel, mais dans une chambre, à travers un être humain. — H.J.S. in Penthesilea, théâtre et film (document de communication du Festival d'Automne à Paris, version française)

[gdacb]

Parsifal (Hans-Jürgen Syberberg, 1982)

[documentaryoncinema]

‘Signs of vigorous life:  The new German cinema’

'Signs of vigorous life: The new German cinema -  Herzog, Fassbinder, Schlöndorff, Wenders, Syberberg’, BBC, Omnibus, 1976, VO, SE en YouTube.

[mozart-1053]

[facepalminmovies]

Parsifal (Hans-Jürgen Syberberg, 1982)

[kenotype]

Hitler, a film from Germany (Hans Jürgen Syberberg, 1977)

[underawarmgoldenlight]

Hitler: A Film from Germany (1977, dir. Hans-Jürgen Syberberg)

[rwpohl]

hitler, ein film aus deutschland, hans-jürgen syberberg 1977

[thefloatingindex]

1. Remote Sensing, Ursula Biemann (2001) 2. Hyperlinks or It Didn’t Happen, Cécile B Evans (2014) 3. Solstice, Actual Objects (2001) 4. D’amore si vive (We Live of Love), Silvano Agosti (1983) 5. White Echo, Chloë Sevigny (2019) 6. Film, Samuel Beckett & Alan Schneider (1965) 7. Baq-hr Sangi (The Stone Garden), Parviz Kimiavi (1976) 8. Ginza Strip, Richard Ginza (2014) 9. Cable to the Continent, John Sutherland Productions (1959) 10. Parsifal, Hans-Jürgen Syberberg (1982)

[davidhudson]

Happy 84th, Hans-Jürgen Syberberg.

With Edith Clever on the set of Die Nacht (1985).

[zahut]

Hi, do you like cinema? If yes, what's your favorite movie?

Hi! I do like cinema, especially Soviet and Swedish Cinema. I think each of the arts has its own poetic meaning, and cinema is no exception. It has a particular role, its own destiny—it came into being in order to express a specific area of life, the meaning of which up till then had not found expression in any existing art form. Everything new in art emerged in answer to a spiritual need and its function is to ask those questions which are supremely relevant to our epoch.

In this connection I’m reminded of a curious observation of Father Pavel Florensky’s in his book, The konostasis. He says that the inverted perspective in the works of that period was not the result of Russian icon-painters being unaware of the optical laws which had been assimilated by the Italian Renaissance, after being developed in Italy by Leon Battista Alberti. Florensky argues, convincingly, that it was not possible to observe nature without discovering perspective, it was bound to be noticed. For the time being, however, it might not be needed—it could be ignored. So the inverted perspective in ancient Russian painting, the denial of Renaissance perspective, expresses the need to throw light on certain spiritual problems which Russian painters, unlike their Italian counterparts of the Quattrocento, had taken upon themselves. (One account has it, incidentally, that Andrey Rublyov had actually visited Venice, in which case he must have been aware of what Italian painters had been doing with perspective.)

If we round off its date of birth, cinema can be said to be contemporary with the twentieth century. That is no accident. It means that about a hundred years ago the point was reached when a new muse had to emerge. Cinema was the first art form to come into being as a result of a technological invention, in answer to a vital need. It was the instrument which humanity had to have in order to increase its mastery over the real world. For the domain of any art form is limited to one aspect of our spiritual and emotional discovery of surrounding reality.

Now, speaking of my favorite movie, here’s a list of my all-time favorites:

Parsifal (1982) dir. Hans-Jürgen Syberberg

Dog Star Man (1965) dir. Stan Brakhage

Heimat (1984) dir. Edgar Reitz

The Shining (1980) dir. Stanley Kubrick

Persona (1966) dir. Ingmar Bergman

Cries and Whispers (1972) dir. Ingmar Bergman

Central Station (1998) dir. Walter Salles

Nostalgia (1983) dir. Andrei Tarkovsky

The Act of Seeing with One’s Own Eyes (1972) dir. Stan Brakhage

Scenes from a Marriage (1974) dir. Ingmar Bergman

A Child’s Garden and the Serious Sea (1991) dir. Stan Brakhage

La Chinoise (1967) dir. Jean-Luc Godard

Voices Through Time (1996) dir. Franco Piavoli

Wavelength (1967) dir. Michael Snow

Burial Path (1978) dir. Stan Brakhage

The Hart of London (1970) dir. Jack Chambers

Diamonds of the Night (1964) dir. Jan Nĕmec

Come and See (1985) dir. Elem Klimov

The Ascent (1977) dir. Larisa Shepitko

The Mirror (1975) dir. Andrei Tarkovsky

That’s it. In cinema, works of art seek to form a kind of concentration of experience, materialised by the artist in his film: as it were an illusion of the truth, its image. The director’s personality defines the pattern of his relationship with the world and limits his connections with it; and his choice of those connections only makes the world he reflects the more subjective.

[gdacb]

Ludwig - Requiem für einen jungfräulichen König (Hans-Jürgen Syberberg, 1972)