Brent Corrigan's Heat

What if we make a film club?

The main idea that guides this proposal is aimed at one goal: to promote a critical view of audiovisual offerings form and change our way of seeing, understanding and being in the world.
is to shorten the distance between the eyes indiscriminate reading is significant that the meeting with the film or, more spacious, with audiovisual productions.

This paper seeks to shore up the work of coordinators and technical units of the Youth Activity Center / Ministry of Education

We thank Marcelo Zanelli, Deborah Kantor, Sergio Balardini and the team of CAJ (circa 2004)

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Why film?


Why film can be a good resource for working with youth?

Because cinema is the medium where they live literature, theater, music, visual arts, because it is more than the sum of its parts or, in any case more (or less) than the sum of all those languages .

For those languages \u200b\u200bwe can think and work individually with each of them in an objective function is always linked to the language of film.
Because we can forget for a moment the movement to look at a painting.

Because we can stop in a photograph.

For a landscape is a painting and a photograph frame, silence and the silence is like oxygen for music and music we think, based on a painting, a photograph, a landscape and we can discover what music comes to us from those places.

Because we find that some books I have ever heard or saw name on a shelf or read, turned into movies and even surprised with the amount of films that before were only books. Because

films also have a book designed exclusively for film and because there are people who write movies that are not only books, because books of the films are called scripts. Because the films

tell stories, and stories take place in places, and places are in a place that is not the place where the spectators. Because movies are a gateway to these places. Because

stories to be told require people who sometimes are very different viewers and sometimes not.

Because things that happen to these people remind us of things that happen.

Because those people that we mourn, laugh, dance, are actors. Because the actors are people who look remarkably like people they represent and because sometimes people represent themselves in films documenting things.

For all these things, and the possibility of articulation with other courses offered by working with movies, we can think of activities in which the young people to discover and enjoy movies, while developing their own ideas from their tastes and interests, guided by who is coordinating this activity. We offer these guidelines for creating a film club in the CAJ.

A film (fiction or documentary) is a territory of representations which can acquire different meanings, but never lack of it.

film's narrative can capture the way in which a film trims and develops "a" social reality within a context doing more or less explicit ways of being, thinking, of being both an author, a director, a writer, as a community, thus opening a real social setting from which challenges us.

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What a film club?


The film is an educational and culturally relevant media enables new ways to have fun, learn, be linked with art and people ... What if we make a film club?

note then no claim for completeness, the general objectives of a film club in the framework of CAJ:

1. Generate a meeting within the framework of the CAJ, from the experience of the screening of a film and the subsequent debate on it.

2. Help boost ties between the school, the CAJ and the socio-cultural.

3. Facilitating the communicative function space as public speaking exercise, encouraging dialogue, argumentation and substantiation of opinions.

4. Contribute to the cultural education of adolescents and youth, and her aesthetic sensibility, from the enjoyment of cultural productions.

5. Create spaces for the dissemination and investigation of films and to establish possible links with literature photography, music and theater.

6. Open space enriching intergenerational communication, adult-young, around the film and the practice of debate.

7. Develop links with cultural and educational institutions.

8. Assess the relevant artistic cinematography in different historical periods, national and international.

Infrastructure and basic tasks

Film societies, at best, can operate in an auditorium, although this condition is not essential as they may develop in small classrooms or in any other place to install a TV and VCR.
In fact, new technologies can bring out the film society activities in many areas. The cinema can be seen in theaters and the media is film, which requires different equipment we are proposing in this case.
For the operation of a film club in the Youth Activity Center is therefore necessary to have a movie viewing room and an adequate number of seats, depending on the capacity of the room. [6]
For specific technical resources, the basics is to have a TV and a VCR.

Should have audio equipment, it can connect to the video and improve that way, the sound environment. If you program
hour movie, it is necessary to take into account the levels of light in the room, so it is necessary to think in shades or black construction paper to darken the space. A room too bright conspires against the concentration of viewers and worsens the quality of the image.
Before the screening of the film, it is necessary to "check" the sound, the operation of the VCRs and copy quality.
should be protected from shocks and dust in the equipment and materials and cleaning of the heads of a VCR once a semester, according to the dynamics of these projections, taking care of the technical elements of the movie rental and the organization and development of everything necessary for the operation of the activity:

1. Films (if VHS) should always be rewound after being used.

2. The films must be kept at their original cover or box.

3. It is advisable not to advance or rewind the video cassette to play. Ideally, press Stop and then forward or rewind, unless the intention is to display a detail of a wall, a special effect frame by frame, into a specific passage door, etc.

identified tasks (and others that are necessary) are important for the proper conduct of activities. Film club members form a team that, although not fixed and contemplate the replacement of its members should plan to distribute these tasks and to ensure responsibilities, anticipating the times, etc.

and organization design cycles

The "core" of a film club, is organizing film festivals and debate. This means taking into account issues such as:
For the development of programming can be a survey of the interests of the audience, which does not mean that the selection must inevitably pandering to public interests, it is possible that within a cycle not all movies are "fun" or "easy" to see.

The existence of a vast film production, to organize exhibitions on various themes, much as interest may arise.
Film societies, unlike commercial showrooms have the advantage of being able to schedule movies without being tied to the roster of hits. This does not mean you have to exclude them, but we can on the basis of this advantage salvage titles that went unnoticed at the time of its trade show and resting on the shelves distributors or video stores.

Moreover, it is possible to negotiate with other institutions (film libraries, embassies, colleges and universities, cultural centers such as the Goethe-Institut, Italian, Brazilian, French Alliance, etc.) Transfer, loan or rent Movie of significant value, not commercial.

The film club, samples can be programmed documentaries, retrospectives, films that have been important in the history of cinema (classic), avant-garde (French New Wave, Italian Neorealism, French Impressionism, German Expressionism, the early Russian cinema, Dada experiences and Surrealism, etc.). Imaginary movies that outlined ways to look and see us in every decade, as well as the most representative of each genus [7] .

can be programmed also cycles of "auteur cinema" based on the work of various directors, soundtracks, cinematographers, etc.
may likewise imagine crossing signs on various topics, including: film and tango, film and political movements, film and social change, film and sports, film and literature, identity, gender , human rights, world culture, technology, etc. For these cycles

is advisable to generate guidelines for the review and discussion of the film, in order to enrich the exchanges.

organize film series to encourage discussion then consider the following questions:

• Define the axis of the cycle: by subject, directors, actors, times, etc. [8]

· Search films in video format (video stores, cultural institutions, etc.), It is possible to think of some kind of agreement with institutions, CAIEs of the province, [9] embassies, shopping cultural, for variety of titles at affordable rates or loan.

• Define, invite and ensure the presence of the person coordinating the discussions.

• Design and printing of the program (biography of directors of each film sheet [10] , critical comments, insert pictures and / or other information considered relevant.) This information can be obtained via the Internet, for example, or simply extract the relevant information is printed on the cassette cover. In some cases it may be a summary of the plot in advance and looking at teaming up with some language and literature.

· Management expenses: transportation, work materials, "publicity and propaganda, etc.

· Announcement: who, when, where, how, etc.

· Fitting of the site.

Along with the activities of programming cinema - debate can develop enrichment and other activities that give real dimension to the operation of a film club. Among them are proposed:

a) Preparation of technical guidelines and analysis of the films to be projected for use in different curriculum areas.

b) Developing critical to collect impressions after each screening, allowing re-think the selection criteria for future programming.

c) Finding information about directors and films: ideology, artistic, historical background and context of the film in his work. [11] .

d) Creation of a database related to the film club.


cineclub Other possible activities
The following is a brief list of activities that can develop in the context of a film club, as well as support the development of cinema-debate:

a) Conferences on topics related with film.

b) Introductory courses and seminars film [12] ;

c) Dialogue with professionals from different areas of culture, as part of a projection.

d) script-writing workshops [13] .

e) Making child cycle (or for specific audiences).

f) What about comics-pictures-scripts. Let's see how this proposal could be developed:

A film is a more within the universe of audiovisual productions and therefore there are other ways to produce that do not require registration with camera or crews.

Example: A comic is an image and text, the encounter of these two records on the reader that unites and decodes the message in the story.
however, and may be the logical succession of drawings as the Story Board of a movie as a comic, the story is drawn from the film, frame by frame exposed through pictures that show the frame to make and texts accompanied with corresponding dialogues. It is very useful when shooting, since it facilitates the work of technicians especially in action sequences. It is essential where there are special effects that have subsequently overlap.

In this regard, with a slide projector can be drawn on translucent paper and project drawings on a white wall, then putting sound from a computer, recording voices, music, ambient sounds.

If you have a scanner can scan drawings and works on the computer with a design program and then using, for example, the movie maker [14] made an edit [15] musicalized for see on the computer screen or download the information to a CD, should have recorder.

If we think in these terms or any other you can think of to generate your own images, is possible to develop activities such as:

· Selection of music for scripts or scenes produced by young people.
· rewrite the argument of the films from different perspectives.
· Realization of a comic book on the subject of a movie or one of its most significant or original idea of \u200b\u200byoung [16] .

...
The film is an educational and culturally relevant outreach
enables new ways to have fun, learn,
to link with art and people

... What if we make a film club?

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You can talk about a film

by Alain Badiou
"Peut-on parler d'un film?" Text of the lecture by Alain Badiou in the Studio des Ursulines, Paris, June 7, 1994, published online in L'Art du Cinéma, n ° 6 , November 1994.

A first way of talking about a film: it consists in saying "I liked" or "I was not very enthusiastic." These words are indistinct, since the rule of "please" makes its standard hidden. For what expectation states the trial? A detective novel can please or not please, be good or bad. These distinctions do not make the novel in question a masterpiece of literary art. Rather designate the quality, color, the short time spent in their company. Which is verified after an indifferent memory loss. For the first time the word will be called "the trial indistinct." It has to do with the necessary exchange of views, which are often open, and after consideration of the time it is natural, at that time enjoyable and precarious life sustrae.Hay promise or a second way of talking a film, just the one in which he defends against the trial indistinct. As shown, which is already some argument-that this film is not merely situable in the hiatus between pleasure and oblivion. It is not just that it's great in its genre, but that also makes provision for its purpose, or fix, any idea. One of the superficial signs of this shift register is the name of the author of the film, his words as an author, while the indistinct view, meanwhile, referred primarily to the actors, in order, a striking scene, or the story told. This second type of trial attempts to designate a singularity, whose emblem is the author. This uniqueness is what resists the trial indistinct. Try to separate what is said of the film of the general movement of opinion. Such separation is also one that cuts off a spectator who has seen the uniqueness and the appointment of the mass public. A this trial will be called "diacritic trial." Advocates the consideration of film as a style. The style is what is opposed to the indistinct. Uniting style with the author, the trial diacritic film aims to save something, that something that is not thrown into oblivion pleasures. Some figures of cinema, some names are identified in time.

diacritic In fact, the trial is only the denial of trial fragile indistinct. Experience shows that it saves both films as the names of the authors, not so much the art of cinema as some scattered elements of constant stylistic. I would be more tempted to suggest that the trial diacritic the authors is that the trial indistinct to actors: the index of a temporary recall. Ultimately, the trial diacritic defines a sophisticated form, or differential, in the opinion. Means, is, cinema "quality." But the history of quality film ultimately fails to appoint any artistic configuration. In any case means rather the story, always surprising, the film critic. Well, in all ages, is critical to provide its views expressed at trial diacritic. The criticism refers to the quality. But do not stop being herself, quite indistinct. Art is infinitely more rare than the best critics can suppose. This is something that today is known remote reading literary criticism, say Sainte-Beuve. The vision that undeniable sense of quality, vigor diacritic, gives his century is artistically absurd.

Actually, the purpose of trial diacritic are covered by a second forgetting, in a period different from that forgetfulness indeed caused by the trial indistinct, but ultimately no less urgent. Cemetery authors, quality means not so much the art of an era, as its artistic ideology. Ideology that, always, true art is a gap [trouée].
must imagine a third way of talking about a film, and indistinctly or diacritical.
two traits I see in her field.
First, the trial is largely irrelevant. All defensive position is abandoned. The film is good that you liked, which is not commensurate with indistinct view objects, you have to be distinguished: all this is quietly assumed by the simple fact that he is spoken of, is far from the goal to achieve . Is not this the rule that applies to works of art established in the past? Find a "significant that the Oresteia of Aeschylus, or the Comedie Humaine of Balzac will have" quite liked "? What are not "really bad"? The trial becomes indistinct ridiculous. But The same applies to the trial diacritic. It is no longer a matter of showing fatigue Mallarmé's style is superior to Sully-Prudhomme, who, incidentally, spent his time as the most excellent quality. Then the film will speak on the unconditional commitment to a conviction of art, not to set it, but to draw from it consequences. Let's say we move from a regulatory view, indistinct ("is fine") or diacritic ("exalted"), axiomatic that an attitude about the impact for thought by this or that film. So let's talk
axiomatic trial.
The second feature of the trial on a film is that any element of the film can be called without setting its relationship with the passage of an Idea impura.En my previous conference here, said, the art of film, two things:
"That was the idea of \u200b\u200ba mode visitation, of a passage.
"That was referring to all the other arts, it was all more una.Y so, his treatment of the idea captured uniquely their impurity.

Talk about a film is to examine the consequences of their own way in which an idea is treated well by the film. Formal considerations, cutting, flat, global or local motion, color, body actants, sound, etc. Should not be cited to the extent that contribute to "touch" of the idea and the capture of his native impurity.

An example: the succession of planes that mark in Murnau's Nosferatu, the approach to the site of the prince of the dead. Overexposure of the plains, rearing horses, cuts stormy, all this unfolds the idea of \u200b\u200bplaying the imminence of a visitation day early evening, a no man's land between life and death. But there is an impure mixture of this visitation, which is clearly poetic, by failing to transfer the vision for the expectation and concern, rather than give it to see its outline established. Our thinking here is not contemplative he is taken away, traveling in company with the idea rather than simply appropriating it. The implication is that of the possibility of a thought-poem which breaks the idea, which is less a cut than an apprehension of the loss.

Talk about a film will often show how we are called to this idea on the strength of its loss against the grain of the paint, for example, is art par excellence of the idea carefully and fully given.

This contrast makes me turn to what I believe the main difficulty when speaking axiomatically a film in question. Is to speak of him as a film. Then when the film actually organizes visitation of an idea, and we assume, as we speak, "it is always in a subtractive relationship, or defective in respect of one or more other arts. Indeed, the most delicate to maintain the movement of the defection, not the fullness of his support. Especially when the formal channel, which refers to alleged transactions film "pure" is a dead end. Nothing is pure cinema, indoor and comprehensively as it is polluted in its capacity as "all the arts plus."

Recall for example the long journey from the canals of Venice at the beginning of Death in Venice, Visconti. The idea goes, and that all the rest of the film at a time saturated and dissolved, is that of a man who has done what he had to do in existence, and was then placed on hold, either on the eve of an order, or other life. But this idea is organized by the heterogeneous convergence of a number of ingredients is the face of the actor Dirk Bogarde, the particular quality of opacity and loaded question this face, and that has to do, like it or not, with art the actor, are the countless artistic echoes the Venetian style, all in fact related to the issue of what is accomplished, a soldier, removed from history, pictorial themes already present in Guardi and Canaletto, literary themes, from Rousseau to Proust, there for us in that kind of traveler from the great palaces of Europe, the echo of the subtler uncertainty plot, for example, the heroes of Henry James, is the music of Mahler, who is also the consummation relaxed, exasperated, a total melancholy tone of the symphony and his line of rings (here, the strings alone). And it can show how these ingredients are amplified while corrode each other, in a kind of decomposition too, which gives exactly the idea, as passage and as an impurity. But what is here the film itself? After all, cinema is nothing more than making and assembly. Nothing else. I mean, anything else is "The film." Must be upheld, then, that from the point of view of axiomatic view, the film is exposed by the passage of the idea that making and assembly. How does the idea to take [prize], that is, to his surprise [sur-prize]? And how are the edits? But above all: what it reveals singular being taken and mounted on the one-of-more heterogeneous in the arts, and we could not previously know or think about this idea? In the example of film Visconti, it is clear that making and assembling conspire to set a duration. Excessive duration, consistent with the perpetuation empty of Venice, and with the stagnation of the adage Mahler, as well as the interpretation of an actor immobile, inactive, which is not required, endlessly, rather than the face. And so, what is captured here with the idea of \u200b\u200ba man suspended from his being, or his desire, is that in fact this man is still himself. The ancient remedies have been exhausted, new opportunities are absent. The length film, made in the management of various arts left to their shortcomings, is the visitation of a subjective immobility. Hay with a man freed from now at the whim of a meeting. A man such as Samuel Beckett would say, "still in the dark" until it reaches the untold delight his executioner, that is, their new desire, if it ever arrives.
That is the side of this idea still what we deliver, is what makes your ticket here. It could show that the other arts, or fighting the idea as a gift-the highest degree, the painting, or invent a pure time of the idea, explore movement configurations thinkable "in the highest degree, the music- . The film, by the possibility of its own, recording and editing, to amalgamate without presenting the other arts, can and should organize the passage of the still.

But the immobility of the passage, as can be shown easily in relation to certain levels of Straub remain with the literary text, its escanción, its progression. Or with the dialectic that the beginning of Playtime establishes between the movement of a crowd and the emptiness of what might be called its atomic composition. Axiomatically talk of a film is always disappointing because an activity is always exposed to no more than a rival to the arts chaotic primary. But we can follow this thread: to show how the film transports us with this idea, so that we discover what nothing else could make us discover, that, as Plato thought so, the impure from the idea is always that immobility passes, or a passenger is stationary. And that is why we forget the ideas. Against forgetting

, Plato calls the myth of a vision first and a reminiscence. Talk about a film is always talk of a reminiscence: what coming, how reminiscence, this or that idea is capable, able to us? It is this point that all true film, idea by idea. Ties of impurities, movement and repose, of forgetting and reminiscence. Not so much about what we know, as far as we know. Talk about a film is to speak less of the resources of thought that possible, once insured, the manner of the other arts resources. Indicate what might be there, well there is. Or else: how the doping of the pure open the way to other impurities.

Can You Buy Fake Gauges At Claire's

Film as false move



By Alain Badiou, "Le cinéma comme faux mouvement", text of the lecture by Alain Badiou in the Studio des Ursulines, Paris, November 29, 1993, published online in L'Art du Cinéma, n No. 4, March 1994.

Is it possible to venture a thought of the film from the notion of image, moving image, of what Gilles Deleuze calls the movement-image precisely? Whole point lies, I think, in holding that reality movies are the films are called operations in certain films. Just as there is poetry only to the extent that first we poems, there is no cinema than to the extent that there fillms. And a film is not the realization of categories, even materials, presupposed by it. Categories such as image, movement, painting, out of field, texture, color, text, etc. A film is a unique operative, she grasped the massive process of a configuration of art. A film is a point-topic [point-sujet] for a configuración.Este subject [sujet] as any item, be thought of as an operation subtractive input. A film works so removed, in it, first, the image is cropped. Here the movement is hampered, suspended, upside down, stopped. More essential the presence, is the cut [the découpe], not only the effect of the assembly, but now, and from the outset by the frame, and dominated the cleaning of the visible. What matters absolutely to the movies is that the flowers shown, and in such a sequence of Visconti, Mallarme are flowers, flowers that are absent in every line. I've seen these flowers, but the proper mode by which they are captive of a cut is that by which their uniqueness and idealism are given indivisiblemente.Toda paint the difference lies in this: not to see what founds the idea thought, but having seen them. Film is an art of the past perpetually, in the sense that the past is established by the pass [Pass]. Cinema Visitation is: the idea of \u200b\u200bwhat I see or hear remains as she passes. Organize the internal friction to the passage of visible Idea, this is the operation of the film, whose ability is in turn invented by artista.En operations of a film, then the movement should be thought of in three different ways . On the one hand, refers to the idea of \u200b\u200beternity paradoxical passage of a Visitation. A street in Paris, is called "the passage of the Visitation" could be called street theater. What is at stake here is the cinema as a global movement. Moreover, the movement is that, through complex operations, subtracts the image itself, making it is Impresentable even registered. It is in the movement which embody the effects of cutting [coupe], even and especially, as seen in Straub, when it does see the emptying [évidement] of the visible is the apparent arrest. Or, as in Murnau, where the progress of a tram segmental organizes the topology of the shadow of a suburb. Say we have hence the actions of local movement. And finally, the movement is impure in the total circulation of the other arts, installed in allusion contrasting idea, subtractive herself to art freed from their destinación.Es impossible, in fact, think the film was a kind general space, or grasp its connection with other Arts: Art is the seventh in a very particular sense. Not added to the other seven [*] on the same plane as them, but rather the means, is one-of-plus [plus-one] of the other six. Opera on them, from them, by a movement that eludes other mismas.Preguntémonos, for example, what to fake movement to Wim Wenders Goethe's Wilhelm Meister. The film and novel. We have to admit that the film would not exist, or rather would not have existed without the book. But what is the meaning of this condition? Or more precisely: under what conditions of the film is possible this novel condition of a film? The question is tortuous and difficult, we see clearly that two operators have been invited: you have story or narrative shadow, which has characters, or character reference. There is something in the film that film operates as an echo of, say, the character of Mignon. Freedom of novelistic prose, however, is in failing to see the bodies, bodies whose visible escapes many of the finest description. Here, the body is given by the actress, but 'actress' is a word from the theater, a word representation. And here starts the romantic film himself for a piece of theater. But it is clear that the idea of \u200b\u200bMignon film is installed just on the one hand, this tear, is fantastic novel and drama, but also in a "neither", and all the art of Wenders is to sustain its pasaje.Si now wonder what Death in Venice Visconti because Death in Venice by Thomas Mann , heme suddenly diverted towards the music: in this case the timing of the passage is given, think of the opening sequence, much less for the prosodic rhythm of Thomas Mann that the adage of Mahler's fifth symphony. Suppose that here the idea is the relationship between melancholy love the genius of the place and death. A lack of prose, and there, nothing will be said, nothing will be textual, Visconti shows the Visitation of this idea in the gap music that opens in the visible. The move removes the romance of the language, and keeps it in a shifting border between music and place. But in turn, exchange music and place their own values, so that the music is muted by pictorial allusions, while all stability is dissolved by the pictorial music. These transfers and solutions are the very thing that in the end, you have done everything actual passage of the idea.Podríamos called "poetic cinema" to link the three meanings of the word "movement" whose joint effect is ultimately visit the sensible idea. I insist that the idea is not embodied. The film belies the classical theory as that art is the sensible way to the Idea: the visitation of the sensitivity of the Idea does not give any body. The idea is not separable, there in the cinema than in its passage. The idea is visitación.Demos an example. What about false movement when the fat man finally reads his poem? If we refer to the global movement, we say that this reading is like a cut on the courses lawless, wandering around the group. The poem is installed as an idea of \u200b\u200bthe poem by a margin effect of interruption, so goes the idea that the whole poem is a breakdown of language as a mere instrument of communication. The poem is a detention [mise en arrêt] of the language about himself same. Only here, properly understood, language is not film, but the ongoing search, a kind of sullen suffocation. If we refer to the local movement, we say that the visibility of the reader, his own amazement, the show haunted by the annulment of the text itself, in the anonymity that is abysmal. Poem and poet suppress each other. The residue is a kind of surprise there, wonder of existence is perhaps the real subject of this film. If order is considered unclean motion of the arts, is that in reality, the poetic in the tear film of the poetic self in the poem of course, because what counts is just an actor, he a doping of the novel, read a poem, which is not a poem, to mount the passage of a completely different idea: that this character can not, can never, despite his misplaced desire, get close to others, form from them a stability of their being. The wonder of existence, as often happens in the first Wenders Wenders before the angels, so to speak, is at the solipsistic, something that even remotely, states that a German can not peacefully agree and join Germans, unless it can be pronounced, with all political clarity, being German as such. Thus, the junction of the three movements, the poetry of the film is passage of an idea that is not simple. In the film, as in Plato, the real ideas are mixed, and any attempt to uniqueness dismantles [defaite] to the poetic. In our example, this reading of a poem brings up, or pass, the idea of \u200b\u200ba connection of ideas: there is a link, German itself, between what is the poem, the wonder of existence, and national uncertainty. It is this idea of \u200b\u200bvisiting the sequence. And their complexity, their mixed nature, whether convened what we think, requires the binding of three movements: the global movement, by which the idea is never more than a ticket, the local movement, which it is also different from what it is, other than his image, and impure movement, which it is installed on the moving boundaries between artistic assumptions abandoned. And just as poetry is about language detention as a result of a coding device use, and also tied the poetic movements of the film are clearly global movement falsos.El movements is false, since no measure for you. The substructure technique regulates a discreet parade uniform, whose art is to ignore anything. Cutting units, such as planes and sequences, are ultimately composed, not as a time, but a principle of neighborliness, for reference, to insist upon or rupture, which is true thought topology rather than a movement. As filtered through this space in composition, present since the shooting, false motion is imposed by which the idea is not given only as a passage. Say no idea because there is a composition space, and no passage because this area is spared, or exposed, as global time. Thus, false motion, the sequence of trains and rub away is a metonymy of the entire composition space. His movement is pure exposition of a place where subjective closeness and remoteness are indistinguishable, which is in fact the idea of \u200b\u200blove in Wenders. The global movement is nothing but the elongation pseudo-narrative of this site.The local movement is false because is only the effect of removal of the image, or you could also say, himself. Neither is there original motion, movement itself. The visibility there is enforced, not being playing for something, say in passing that the film is the least imitative of the arts, it creates a temporary effect of travel, so visible that it is witnessed in some way "out image ", witnessed by thought. I think for example in the sequence of Touch of Evil, Welles, in which the fat police twilight visit to Marlene Dietrich. Local time is here only because it led to Marlene Dietrich who visit Welles, and this idea has no match with the image, which should be that of a policeman in an aging prostitute. So almost ceremonial slowness of the meeting is the fact that this image should be covered by apparently thought so, for an investment of fictional values, are Marlene Dietrich and Orson Welles those involved here, not a Police and prostitute. Thus the image tears herself to be returned to the real film. Here, besides the local motion is geared towards the movement impure, because the idea of \u200b\u200ba generation of artists who just comes to settle on the frontier of film and film and cinema as configuration, or as art, in border film himself, or even film and film as effective as a matter of pasado.Y finally impure movement is the most false of all, because in reality there is no way to produce a movement of art to another. The arts are closed in themselves. No painting is ever change in music, no dance poem. All attempts in this regard are in vain. And yet, the film is precisely the organization of these movements impossible. However, this is not even more than a subtraction. The quote alluding to the other arts, which constitutes the film, tear themselves: all that remains is just the border to be bored by the past, the idea, whose idea Visitation film and only film, permite.Así film as it exists in the films, is the false knot of three movements. This triplicity is why as a pure free passage to the mixed character, ideal impurity aferra.El us cinema is an impure art. Is art more, parasitic and variable. But his strength of contemporary art is precisely to give an idea at the time that takes a pass from the impurity of any idea.

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[1] Table: Area bounded by the four edges of the screen.
[2] Frame: Each of the images that occur in a film shot on celluloid. Is the smallest element of the film.
[3] Screenplay: is the idea of \u200b\u200bwhat the film will be reflected in writing, narration, dialogue, description of characters and scenarios
[4] Film societies have their origins in Paris , France in the twenties and became popular three decades later, in the fifties, enjoying a respectable reputation well into the seventies. Since its inception, its goal was to promote film culture and provide a suitable space for feedback and dialogue.

[5] Film is one of them. Internet, television, as multimedia, etc. are also part of this universe.
[6] If there are chairs anything that is convenient and comfortable for permacer front of the screen (rugs, pillows, mattresses, etc.).
[7] Gender. It is a way to sort movies by theme or style. Speaking of music, detective, historical, documentary, etc. An example: Drama: Genre film consisting extremely common in the exaltation of the dramatic features, properly speaking, to move and excite the viewer, to produce the catharsis (originally from Greek classical drama), which leads to tears. His characters are Men usually sad or suffering a tragic and inexorable fate and, therefore, their physical and psychological environment is very similar.
[8] Attached are two texts of Alain Badiou. Internet otrocampo.com in magazine "L'Art du Cinéma, No. 4 and No. 6.
[9] Update Center and Educational Innovation.
[10] Attached is a model sheet for the film Elephant, directed by Gus Van Zant
[11] This activity can be carried out by those interested in film club, beyond the management team activity.
[12] If activity that awakens interest in a second instance can be designed activities related to the performance, without forgetting the importance of watching movies (or films), from there thinking
actions [13] Writer: is the idea of \u200b\u200bwhat the film will be reflected in writing, narration, dialogue, description of characters and scenarios
[14] Movie Maker: editor usually comes standard with applications of multimedia computers.
[15] Editing or editing: selection and organization of images put together what we see on screen.
[16] The comic may be useful to think of a sequence of scenes and acts as a sort of "story board"