{"id":1878,"date":"2023-03-23T19:41:34","date_gmt":"2023-03-23T18:41:34","guid":{"rendered":"https:\/\/unarchivefest.it\/carte-blanche-philippe-alain-michaud-centre-pompidou\/"},"modified":"2023-04-26T13:25:33","modified_gmt":"2023-04-26T11:25:33","slug":"carte-blanche-philippe-alain-michaud-centre-pompidou","status":"publish","type":"page","link":"https:\/\/unarchivefest.it\/en\/carte-blanche-philippe-alain-michaud-centre-pompidou\/","title":{"rendered":"CARTE BLANCHE Philippe-Alain Michaud – Centre Pompidou"},"content":{"rendered":"

[vc_row row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”115430″][vc_column column_width_percent=”100″ gutter_size=”1″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ uncode_shortcode_id=”144124″][vc_single_image media=”1301″ media_width_percent=”100″ uncode_shortcode_id=”683766″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”115430″][vc_column column_width_percent=”100″ gutter_size=”0″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”180167″][vc_column_text uncode_shortcode_id=”110373″]<\/p>\n

CARTE BLANCHE<\/h1>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”120540″]<\/p>\n

Philippe-Alain Michaud – Centre Pompidou<\/h3>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”127434″]<\/p>\n

A selection of rare archival films chosen by the director of the department of Experimental Cinema of the Paris museum.
\nDigital screenings.<\/h5>\n

<\/strong><\/p>\n

<\/h3>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text uncode_shortcode_id=”142733″]<\/p>\n

Carte blanche #1<\/span> – Cornell et all(ievi)<\/span>
\n<\/em>may 6<\/span>
\n16:00<\/span>
\nCinema Intrastevere<\/span>
\nmovie theatre 2<\/span><\/h4>\n

Carte blanche #2<\/span> – American Distopies<\/span>
\n<\/em>may 7<\/span>
\n17:30<\/span>
\nCinema Intrastevere<\/span>
\nmovie theatre 2<\/span><\/h4>\n

Introduced by the curator <\/strong><\/span><\/h4>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”187932″][vc_column column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ uncode_shortcode_id=”269404″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_column_text uncode_shortcode_id=”502742″]These two sessions explore two different – and even contradictory – methods of found footage. The first is dedicated to Joseph Cornell (1903-1972) whose cinematography consisted entirely of already shot film (he never shot an image) that makes it the cinematographic equivalent of the “boxes” that mostly made him famous. His films appear, in the surrealist movement, as dreamlike stories that speak of the interiority of the subject rather than of the external reality fixed on the celluloid: this is only the material of the film work, just as the images of the day are the material of the dream work.
\nRapha\u00ebl Montanez Ortiz and Graig Baldwin, on the other hand, make a political use of the found film, destroying or diverting it: Montanez Ortiz by bringing the fiction of western films back to the reality of the genocide of Native Americans; Greg Baldwin by building a fiction based on the story of the establishment, after World War II, of extreme right-wing dictatorships throughout Latin America, supported by the CIA in order to block communism.
\nDream stories and political parables that appear in the mirror as two inverted ways to reuse images: both to un-realize the world and to describe it.<\/p>\n

Philippe Alain-Michaud, 2023[\/vc_column_text][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_empty_space empty_h=”2″][vc_column_text uncode_shortcode_id=”727687″]<\/p>\n

Cornell et all(ievi)<\/h2>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”660839″][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”128388″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner limit_content=””][vc_column_inner width=”1\/2″][vc_single_image media=”1275″ media_width_percent=”100″ uncode_shortcode_id=”484188″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”192678″][vc_column_text uncode_shortcode_id=”845383″]Rose Hobart<\/span>
\nJoseph Cornell<\/strong> \/ USA \/ 1937 \/ 17′ \/ English \/ orig. 16mm<\/p>\n

Rose Hobart, <\/em>defined by Joseph Cornell \u00aba moving tapestry\u00bb is a film-collage created from images taken from a copy of East of Borneo<\/em>George Melford’s 1931 adventure film: the new editing focuses on the sequences in which the actress Rose Hobart, the protagonist, appears, transforming itself into a reflection on the construction of the Hollywood glamorous body.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image media=”1277″ media_width_percent=”100″ uncode_shortcode_id=”669364″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”105649″][vc_column_text uncode_shortcode_id=”154456″]The Children’s Party<\/span>
\nJoseph Cornell, Larry Jordan<\/strong> \/ USA \/ 1938-1968 \/ 10′ \/ Silent \/ orig. 16mm[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”375283″][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”128388″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner limit_content=””][vc_column_inner width=”1\/2″][vc_single_image media=”1276″ media_width_percent=”100″ uncode_shortcode_id=”209352″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”192678″][vc_column_text uncode_shortcode_id=”204485″]Cotillion<\/span><\/strong>
\nJoseph Cornell, Larry Jordan<\/strong> \/ USA \/ 1938-1968 \/ 9′ \/ Silent \/ orig. 16mm[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image media=”1278″ media_width_percent=”100″ uncode_shortcode_id=”581206″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”105649″][vc_column_text uncode_shortcode_id=”639723″]The Midnight Party<\/span><\/strong>
\nJoseph Cornell, Larry Jordan<\/strong> \/ USA \/ 1938-1968 \/ 4′ \/ Silent \/ orig. 16mm<\/p>\n

Film-collage in the form of a triptych begun in 1930 by Joseph Cornell and finished by Larry Jordan in San Francisco in 1968, following Cornell’s instructions.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”375283″][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”128388″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner limit_content=””][vc_column_inner width=”1\/2″][vc_single_image media=”1279″ media_width_percent=”100″ uncode_shortcode_id=”205101″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”192678″][vc_column_text uncode_shortcode_id=”632322″]The Wonder Ring<\/span>
\n Stan Brakhage<\/strong> \/ USA \/ 1955 \/ 5′ 30” \/ Silent \/ orig. 16mm<\/p>\n

Commissioned by Joseph Cornell, Wonder Ring<\/em> was shot by Stan Brakhage in the summer of 1955, inspired by the Third Avenue subway in New York before it was dismantled.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image media=”1280″ media_width_percent=”100″ uncode_shortcode_id=”384822″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”105649″][vc_column_text uncode_shortcode_id=”158319″]Gnir Rednow<\/span><\/strong>
\nJoseph Cornell<\/strong> \/ USA \/ 1955 \/ 5′ \/ Silent \/ orig. 16mm<\/p>\n

Cornell, dissatisfied by the images shot by Brakhage and his editing, made a new film estarting from the scraps, which he entitled Gnir Rednow<\/em>, an anagram of the original title which, for a long time, led to believe that Cornell’s work was a reverse version of Brakhage’s.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”375283″][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″ uncode_shortcode_id=”128388″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner limit_content=””][vc_column_inner width=”1\/2″][vc_single_image media=”1281″ media_width_percent=”100″ uncode_shortcode_id=”117194″][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”3\/4″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_column_text uncode_shortcode_id=”103906″]Opening the nineteenth Century : 1896<\/span>
\nKen Jacobs<\/strong> \/ USA \/ 1990 \/ 10′ \/ English \/ orig. 16mm<\/p>\n

Ken Jacobs, Joseph Cornell’s assistant in his early filmmaking career, provided, for Opening the Nineteenth Century<\/em>, the following projection instructions:
\n\u00ab(1890s Lumi\u00e8re\/1990 Ken Jacobs)
\n3-D using the Pulfrich effect (Lens distributed to viewers\/normal projection). he film is symmetrical, so that it can be projected from one direction to the other.
\nCinematographers: Eug\u00e8ne Promio, Felix Mesguisch, Francis Doublier<\/em>. The Cin\u00e9math\u00e8que fran\u00e7aise had the originals reassembled in 1896, and they probably represent the first examples of live recording from moving cameras. 3-D Instructions: A red ray that appears in the tunnel midway through the film will inform the viewer that they should pass the Pulfrich loupe located in front of their right eye over their left eye (keeping their eyes open). It is preferable to sit in the center: the backdrop pushes the vision further than the screen. Adjust the lens edges to maintain sharpness. The two sides of the lens can be equally facing the screen, in the same way they can be held in any direction because there is no “up” and “down”. Furthermore, placing the two lenses in front of the eye does not improve the effect in any way, while a lens in front of each eye only cancels it. Projection onto the screen: the bright light beam maintains its angle as it meets the surface of the screen and does not interrupt, giving light and volume, while images of Paris, Cairo or Venice of the past passes away\u00bb.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/1″][vc_separator sep_color=”” uncode_shortcode_id=”517819″][vc_column_text uncode_shortcode_id=”128917″]<\/p>\n

American distopies<\/b><\/h2>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”375283″][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”128388″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner limit_content=””][vc_column_inner width=”1\/2″][vc_single_image media=”1282″ media_width_percent=”100″ uncode_shortcode_id=”213913″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”192678″][vc_column_text uncode_shortcode_id=”159808″]Cowboy Indian<\/span>
\nRaphael Montanez Ortiz<\/strong> \/ USA \/ 1957-1958 \/ 5′ \/ Silent \/ orig. 16mm<\/p>\n

Randomly fragments of Anthony Mann’s Winchester ’73<\/em> that the artist, a member of the deconstructionist movement and founder of the Bario museum in New York, cut with an ax and then ritually purified by shaking the pieces inside a ready-to-use crate aid by singing Yaqui healing songs.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image media=”1283″ media_width_percent=”100″ uncode_shortcode_id=”645838″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”105649″][vc_column_text uncode_shortcode_id=”119724″]Tribulation 99: Alien Anomalies under America<\/span>
\nCraig Baldwin<\/strong> \/ USA \/ 1990 \/ 50\u2019 \/ English \/ French Subtitles \/ orig. 16mm<\/p>\n

Craig Baldwin built his work on techniques of deflection that the Situationists were developing in Europe at the same time. In Tribulation 99<\/em>, probably his most famous film, it depicts, in the form of a paroned pseudo-documentary, using B- and science-fiction film images, an alien invasion of Latin America, in which he constructs a parable about the CIA’s intervention (” The Condor Plan”) aimed at imposing dictatorships on all subcontinents and contrasting the communism.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/1″][vc_separator sep_color=”” uncode_shortcode_id=”517819″][vc_column_text uncode_shortcode_id=”501708″]Philippe-Alain Michaud <\/strong><\/p>\n

Curator at Mus\u00e9e National d\u2019Art Moderne \u2013 Centre Pompidou, Area Menager of film archive. Techer of Story and theory of cinema at Universit\u00e9 de Gen\u00e8ve. Aurthor og Aby Warburg et l\u2019image en mouvement<\/em> (Macula, 1998), Le peuple des images<\/em> (Descl\u00e9e de Brouwer, 2004), Sur le Film<\/em> (Macula, 2016), Anime primitive. Figure di celluloide, di peluche e di carta <\/em> (Quodlibet, 2023). He wrote various articles on the reltionship between cinema and visual arts. He was a curator of varoious exhibition: Comme le r\u00eave le dessin<\/em> (Mus\u00e9e du Louvre\/Centre Pompidou, 2004), Le mouvement des images<\/em> (Centre Pompidou, 2006), Nuits \u00e9lectriques<\/em> (Mus\u00e9e, de la photographie, Moscou et Laboral (Gijon, Spain) 2007, Tapis volants<\/em> (Villa Medici, Rome et Les Abattoirs, Toulouse) 2010, Beat Generation<\/em> (Centre Pompidou, 2016), L\u2019\u0153il extatique : Sergue\u00ef Eisenstein \u00e0 la crois\u00e9e des arts<\/em> (Centre Pompidou-Metz, 2019), Le reste est ombre<\/em>(Centre Pompidou, 2022).[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”577654″][vc_column width=”1\/1″][uncode_share layout=”multiple” bigger=”yes” separator=”yes” css_animation=”bottom-t-top” title=”share”][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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