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Georges Bataille’s Story of the Eye

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发表于 2007-8-4 13:59:14 |只看该作者 |倒序浏览

<img height="452" src="http://www.armcinema25.com/Hat%201_publicity%20pic.jpg" width="362" style="WIDTH: 362px; HEIGHT: 452px;" alt=""/> 导演：Andrew Repasky McElhinneyAndrew Repasky McElhinney绝对是个天才级别的导演。早年导演过《尸体史》（这个我是很多年前在一个网站看到过介绍的，但一直没看过影片，查了一下，是2002年鹿特丹电影节的Tiger Award提名影片）和《从良的妓女》（这个没看过，听都没听过）这是他的独立制片厂<a href="http://www.armcinema25.com/">http://www.armcinema25.com/</a>，也是他的个人网站今天看了他的Georges Bataille’s Story of the Eye，中译《乔治·巴塔耶的<眼睛的故事>》，拍得太好了，尤其是后半段，简直是牛X牛死的！虽然没看过大名鼎鼎的乔治·巴塔耶的《眼睛的故事》，但还是心里一直默念，这个导演，真的不一般，太强了！操！

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胫骨

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发表于 2007-8-4 13:59:14 |只看该作者

这里帖一个来自美国注明的SG(Suicide Girls）对Andrew的采访！有空谁来翻译一下。。。。。嘿嘿~Daniel Robert Epstein: Hello Andrew, what are you up to? Andrew Repasky McElhinney: We’re preparing to shoot a new feature for 12 days up in the mountains. There is this old hotel up there. DRE: Is it like George Bataille\'s Story Of The Eye? ARM: Well we haven’t started yet so we’ll see what it’s like when it’s finished. DRE: Did you have to get the rights to the book to do the movie George Bataille\'s Story Of The Eye? ARM: It’s not an adaptation, it’s an appropriation. DRE: Did you start the movie to see where it would go? ARM: Definitely because the story came in while we were in the middle of production. DRE: Was there ever a story to be made out of the book? ARM: I don’t think we were interested in that. We were interested in the fact that a lot of our ideas corresponded with certain things in book. By using the book as a character in our movie we able to make comments on him. DRE: When did you first read the book George Bataille\'s Story Of The Eye? ARM: I guess it was at the New School in Manhattan. We did a history of sex in film and one of the texts that was assigned to us was George Bataille\'s Story Of The Eye. It was a great school because they allowed us to put together our own curriculum. DRE: When did the idea for the film come about? ARM: The movie came before the connection to the book. DRE: Where did the funding come from? ARM: The film was produced by a guy in Philadelphia who mostly does theatre, art installations and feature films. DRE: How did it do at the Two Boots Pioneer Theatre in Manhattan? ARM: It did very well. I’ve been busy with this new project so I haven’t been there as much as I would like. I hear really good things. DRE: Where else has it been shown? ARM: It was at the Yerba Buena Center in San Francisco and I’m talking to a few other places. DRE: I don’t see it as a porno film but what do you think of people calling it pornographic in a negative way? ARM: It is a pornographic film. I think it depends on if you look at it as a genre piece or if you are trying to see it in a different context. It is about pornography. DRE: Was this a difficult movie to do? ARM: No surprisingly it was a really great working environment because everyone was really in sync with the film we were making. Certainly it was adventurous with ups and downs but it was a good experience. I really like no dialogue in films because I think silent films are pure and better. Talking is one thing but film is about image and that’s why it’s called The Story of the Eye because it’s about looking at being watched. DRE: Do you mean you like a silent film in the grand tradition of silent films or just no dialogue in a modern film? ARM: Like the silent films from the 1920’s. DRE: I read you also showed the movie as part of a video installation. How do you think it plays best? ARM: I like them both but I personally prefer it as a feature film. But it plays differently when presented differently. How is someone getting up for popcorn in the middle of movie any different from someone walking through an installation? DRE: Do you see the film as an attack on pornography? ARM: I think the film is definitely pro-sexual contact but also a lot of the sex in the movie is presented in a dark and negative way. Ultimately the film is pro-sex. DRE: Was Matthew Barney and his Cremaster series an influence on you? ARM: I’m really not familiar with Barney’s work. From what I’ve read he is certainly someone who is doing interesting and different things so I respect him for that. This is really about the people involved and trying to capture something with light and image. Sometimes that comes from the environment you create rather than who influenced you. DRE: Who did the music? ARM: A very talented composer named Paul David Bergel did the score. Then this guy named Rick Henderson and his sound project City of Horns sort of amalgamated it together then we all mixed. DRE: What made you shoot the movie on video? ARM: It was exciting to see it do something new and I liked the results. I like the malleability of the video image. There is definitely a very schematic color scheme. There is a computer program called the Da Vinci color timer which allows you to manipulate color and lighting in post. It really lets you tweak it. DRE: Where did you find all your actors? ARM: I know most of them from Philadelphia. DRE: What can someone learn about you from watching your film? ARM: I don’t know if it’s that personal for me. I think it’s more of a tool to look into yourself. DRE: When you made this film were you exploring yourself or just bringing life to an idea? ARM:

robably a little of both. What I discovered about myself changes with every viewing. There is many different ways to look at it which is very exciting. DRE: Where did you grow up? ARM: In Philadelphia but I went to school in a bunch of different places. DRE: What got you into film? ARM: I’ve always really liked movies but I think it was Dr. Strangelove. In seventh grade we went on this camping trip and the following day we came back from camping so I went to go see my parents in New York. That night in the library I took out Dr. Strangelove. I slept through a lot of it which is my favorite way to see movies, going in and out. I never saw a film that stirred me and touched me on that level before. It made me aware that film was in another world.

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发表于 2007-8-4 13:59:14 |只看该作者

Filmmaker’s Vision: Lyrical, disturbing, beautiful and brutal By Joyce Nishioka At 26, Andrew Repasky McElhinney has already directed and produced three films, with a fourth soon coming. In 2001, The New York Times declared A Chronicle of Corpses one of ten best films of the year. His latest work, which pays homage to French philosopher Georges Bataille, conjures up a balletic dreamscape where dazed characters engage in hardcore sex. In this exclusive interview, McElhinney talks about his art, his philosophy, his family, and Georges Bataille\'s Story of the Eye. American Sexuality: I\'ve read quite a few reviews of your new film, Georges Bataille\'s Story of the Eye , but I was wondering how you would describe it. Andrew Repasky McElhinney: I would say that it\'s a film about looking and the culpability of desire, and the morality of spectatorship. AS: How is the film different from pornography? ARM: That\'s a question of semantics, I think. Certainly, the film is explicit, perhaps pornographic . It has many of the tropes of hardcore cinema—genital close-ups, scat play, a cum shot. But I think that when you watch the film, it\'s quite clear that while it\'s sexually graphic and primarily a film about watching sex-making, that you have to go beneath that surface and explore: What am I learning about these people by watching them copulate? Nudity and sex is alluring and forbidden by mainstream middlebrow American culture. Facets, no doubt, that first attract and repel people into the Bataille project just as sex first attracts/repels people to each other. From this initial lure, the Bataille film splinters off in several directions, which viewers hopefully will pick up and examine from the spectrum of their own experience and impulse. I think all my films are incomplete experiences, fragments—open texts—until they are filtered thought a viewer\'s perspective and become personalized, whole. AS: Do you think how people watch Bataille affects their feelings about the film? ARM: I think it is very problematic to watch cinema at home. I mean, people are lazy and there is the temptation to fast-forward, play the sound too low or go melt cheese on Wasa bread in the kitchen as you keep one eye on the tube. In a public setting the film is the focus, and the communal experience—the ritual—of sharing film becomes part of the action or plot of the movie. For a text that is about spectatorship, a public screening is most exciting and far more dangerous. Part of the reason I made this film was to foster a dialogue about sex in cinema and sex in American culture and I am great believer that this conversation needs to happen in public. AS: What are your views on sexuality? ARM: I\'m interested in seeing the culture move toward a gender-free, poly-sexual identity, breaking free of traditional gender-sexual roles. I am very frustrated with the exclusory nature of heterosexual marriage, the ridiculous posturing by homosexuals to assimilate into that, and the apathy I see in all directions with regards to change, progress and evolution. Americans have this ill desire to “fit in,” colonize, lie and bury things under the rug. I want individuals to think outside the box—challenge themselves with art, understand the metaphor of spirituality and have the freedom to explore sexuality as you would a foreign language or a pie recipe.

eople are way, way, way, way too crazy about labels and fitting into one group or the other. I don\'t think gender and sexuality are as simple as that. I would like us to move more toward a peaceful socialist democracy away from the cult of consumerism, understand the value of “free love” and personal responsibility and be able to fall in love with people not genders. AS: What does love have to do with sex? ARM: I\'m a complete crush junkie, so I\'m the wrong person to ask…on one level nothing, but I generally think sex is better when you have it with people you care about, love or at least sort of know. More people having good sex would clearly make the world a better place. I am very happy when I find out that Georges Bataille\'s Story of the Eye aided as foreplay to an amorous encounter. That\'s as close to a standing ovation as I could want. AS: Are your parents supportive of your art? ARM: I think generally, yeah. This was a project that when I started doing it, I took them out to lunch and I was like “I want you guys to know about this project that\'s coming up; it\'s kind of Mapplethorpe-esque; you\'re probably not going to like it and you\'re not going to stop me from doing it.” They understood that and I\'m sure they were appreciative of my giving them the heads-up. And then initially when it came out and they saw it, they were really very puzzled and worried by it. But certainly, now, they respect the support that the movie has gotten critically and commercially. They are, however, glad that I am doing a \'30s romantic comedy next. AS: Have your films expanded your parents\' views? ARM: Uh, well it\'s not like my parents have become swingers or anything. …I don\'t think I\'m interested in changing my parents. They\'re very much who they are and I respect that and am grateful for the intellectual curiosity that they instilled in me from a very early age. More interesting than my parents is my Grandfather McElhinney, who is now in his mid-80s and was the adult who taught me to be broadminded as a child and who first took me to non-animated movies. He\'s a fan of Georges Bataille\'s Story of the Eye though he did remark that he prefers “happy porn films.” The black-on-white sex scene did make him uncomfortable and while I do not share those prejudices (I have my own) I was glad that the movie gave my grandfather and me the context to openly and candidly discuss our feelings toward race. AS: What would you have become if not an artist? ARM: Maybe I would have become a priest. I\'m really interested in ritual and performance. Christian theology, like theater, offers a lot of ritual and a lot of performance. And then I am interested in etymologizing life and examining the human condition—a priest has the autonomy to do that via his or her congregation. I also think it\'s an opportunity for service. I hope my movies contribute to the bettering of people\'s lives. The priesthood would offer a similar opportunity, though I\'m the first to admit that my lifestyle would be poorly suited to contemporary theological mores.

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