❝ Aside from a Xerox machine, the key materials needed for a punk rock flyer tended to include: newspapers and magazines from which text and images could be ripped and reassembled; pens with which dates, times, and illustrations could be scrawled; and glue to assemble the collage that would be flattened into a photocopy. In addition to appropriating existing imagery, some emerging punk artists created their own, playing with the visual vernacular in the form of cartoons and drawings. Raymond Pettibon, perhaps best known for creating the barcode-like Black Flag logo, created photocopy-ready pen and ink illustrations, taking formal cues from traditional comics but infusing his images with subversive themes, dialogue, and settings. Others, like Winston Smith, who created much of the Dead Kennedys’ most recognizable artwork, collaged already lo-fi newspaper imagery into disturbing juxtapositions of advertised versus actual life. When run through the photocopier, toner smears, and other imperfections made these images literally darker, producing an oddly nocturnal final copy that perfectly reflected the milieu and mood of punk. ❞ *
museu oscar niemeyer
I’ve been here. It was as amazing in person as it looks in these photos.
◉ Museu Oscar Niemeyer — Curitiba, Brazil
echos of buñuel
In the early moments of the film, there is a disturbing close-up shot of ants crawling over the dead climber’s eye. The ants are attracted to the decay, breaking them down further — suggesting a corruption of sight and seeing. There are echoes of Luis Buñuel’s An Andalusian Dog all over Park’s film, particularly in their similar obsession with eyes and the ideological parallels between sight and the visual ontology of cinema itself. […] On the surface, eyes represent openness, allowing living things to access and assess others — the proverbial “windows” to other souls. However, in Decision to Leave, Park instead suggests that eyes are equally capable of deceit through their ability to manipulate and surveil. *
Decision to Leave is a gloriously frustrating mystery
www.theverge.comThe latest film from Oldboy director Park Chan-wook
❝ In depicting the absurd constraints that he himself faces, Panahi exposes the absurdities of daily existence in Iran and the pathologies that afflict the population as a result of its misrule. He also displays, with a scathing severity, the guilt and the complicity that he bears in making movies and enlisting the participation—witting or unwitting, intended or incidental—of others. He carries, however unjustly, the mark of dissidence and (political) crime, and this turns out to be as contagious as it is dangerous. ❝ *
❝ Many of the film’s most dramatic sequences are night scenes filmed with daringly little light, as in remote settings illuminated solely by the interior light of Jafar’s car, the screen on his cell phone, or the full moon, or on desolate dirt roads lit only by headlights. Much is done in secret: important things are hard to see and the effort of discernment in high-stakes situations is crucial to the drama. Panahi relies on long takes without longueurs, many executed using pan shots that unite multiple fields of action and a varied array of characters in a single sweep, others featuring fixed-frame compositions in which the action is often multiplied by the presence of interested observers contemplating the dramatic events and extending them into an extra spatial and psychological dimension. ❞ *
❝ Jafar is the Heisenbergian observer whose presence, with or without cameras, perturbs his surroundings and adds to the troubles of those around him. As he makes his way through the village, he unleashes a Pigpen-like whirlwind of chaos, because what he’s really observing, more than any individuals, is the invisible net of unbearable surveillance in which they’re caught—and which tightens with fear, in menacing cruelty, when it’s in danger of being exposed. ❞
Jafar Panahi’s Ingenious, Tragic “No Bears” Is a Formalist Triumph
https://memora8ilia.com/index.php/2023/07/08/jafar-panahis-ingenious-tragic-no-bears-is-a/