Loretta Fahrenholz

By Fahrenholz, Loretta | Artforum International, March 2012 | Go to article overview

Loretta Fahrenholz


Fahrenholz, Loretta, Artforum International


1 PEDRO COSTA, NO QUARTO DA VANDA (IN VANDA'S ROOM, 2000) Against the ostentatious rawness of post-Dogme 95 neorcalist European cinema (characterized by consumer-grade camcorders tottering through perfectly lit sets), Costa's film mobilizes a completely different concept of cinematographic realism. Working daily for more than a year in the slums of Lisbon's Fontainhas district, shooting nonactors exclusively, Costa constructed his narrative with the rigor of Straub-Huillet, telegraphing expression less through meticulous, nonidentificatory speech than through a highly stylized composition of texture, sound, light, and dialogue. No Quarto da Vanda is a grim, Victorian ghetto film about heroin and the painterly quality of DV images.

2 CHRISTIAN KRACHT, 1979 (KIEPENHEUER & WITSCH, 2001) A key figure in the mid-'90s new wave of German pop literature, Kracht self-consciously abandoned the genre in writing 1979. The book makes me think of the refined stylistic hybridity that Thai filmmaker Apichatpong Weerasethakul effects in Uncle Boonmee Who Can Recall His Past Lives (2010). Even though the two works drift in opposite directions--Weerasethakul's journey is composed of a series of filmic transformations from the expanse of rural Thailand, ending in an urban Westernized space; Kracht's wanders away from the latter into the total liquidation of the subject in the labor camps of Maoist China--both demonstrate a distinct form of genre reflexivity that doesn't fall back on fashionable pseudo-Brechtian conventions.

3 KENJI MIZOGUCHI, SISTERS OFTHE GION (1936) If Stieg Larsson and David Fincher's Lisbeth Salander (The Girl with the Dragon Tattoo) appears as the embodiment of sexy, smooth feminism-on-demand for lefty intellectuals, Mizoguchi's Omocha, the younger of two geisha sisters in this Japanese pre-World War II drama, is a much less service-oriented agent of antipatriarchal force. At the end of the film, Omocha launches into an intransigent speech that allies her with the disobliging heroines of Madchen in Uniform (Leontine Sagan, 1931), Black Girl (Ousmane Sembene, 1966), and Mouchette (Robert Bresson, 1967).

4 AGNES VARDA, LIONS LOVE (1969) A Nouvelle Vague take on late-'60s America, Varda's made-in-LA feature stars filmmaker Shirley Clarke (playing herself) opposite a hippieish menage a trois of Warhol starlet Viva with James Rado and Gerome Ragni (the composers of Hair). For most of the film, the latter three are shown in their rented Hollywood bungalow reciting Pop aphorisms as they lounge around in a big bed in front of a TV. The double shootings of Andy Warhol and Robert F. Kennedy in June 1968 serve as a backdrop for this slack mix of French engage anti-illusionism, Edenic acid fantasy, and examination of violence and media culture.

[ILLUSTRATION OMITTED]

[ILLUSTRATION OMITTED]

5 LESLIE THORNTON, PEGGY AND FRED IN HELL: THE PROLOGUE, 1984 One might wonder why, despite their use of the most sophisticated visual effects, recent sci-fi and fantasy movies are often so stupendously square in their vision of extraterrestrial and para- or abnormal activity. By contrast, watching Peggy and Fred--two kids completely immersed in the rapid, commodity-saturated mediascape of the mid-'80s--offers a highly disturbing, twisted vantage onto the apocalyptic disaster of contemporary life.

6 WILLIAM (NEW YORK) Located in a garbage can on the fifth floor of 17.9 Canal Street, this promising contemporary art venue opened in January with a show highlighting the graphic production of Jack Smith. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Loretta Fahrenholz
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.