Article excerpt

"Place" and the "auteur." This issue unexpectedly explores those much visited ideas in interviews with and analyses of four directors whose films are vastly different: France's Babette Mangolte, Palestine's Elia Suleiman, Mexico's Francisco Athié and Italy's Pier Paolo Pasolini. They share a visibly constructed cinema. Suleiman speaks of "temporality" as key to his films, a term applicable to the varying techniques that appear in the movies of these directors. Issues of expatriation and nationalism are woven into uses of cinematic sound, narration, out-of-frame or starkly framed placements, while marginality and memory are emphasized, at times through appropriations of cultural tropes and film genres. That geography and the human body resonate and reflect each other is evident. All these elements create "place" as much as a visible location does.

This issue contains a dossier on cinematographer and filmmaker Babette Mangolte, whose craft as the former is well known (such as for Chantel Akerman's Jeanne Dielman) but whose own work is not. Her newly released, exuberant documentary, Les Modèles de Pickpocket, on the continuing lives of the three principle actors in Robert Bresson's 1959 Pickpocket, is highlighted here. Brian Price looks, with a far-ranging perspective, into the specifics of her vision, and Malcolm Turvey gives Mangolte a much needed avant-garde context. …


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