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Constructive Dissonance

Library Home page Menu. Search form Search. Search Type Keyword. Search Terms. Floor plans: Floor plan. Wheelchair access: Yes. Media Resources Center. Course Reserves. Previous week Next week. Key resources Media Resources Center Guides. MRC Vault. Key databases Film Studies. American and British servicemen, civilians and prostitutes look each other over in the heart of a Saturday night.

A northern mill town closes down for the weekend. A working shed of Lancashire railway engineers regrets the passing of coal-fired steam to diesel locomotives. A pair of deaf mutes as Beckettsian clowns is pestered by children as they make their way across the working industrial landscapes and German bomb-devastated postwar vacant lots of East End docklands. A Hungarian refugee newly arrived in London speaks little English and seeks a street address without the postal district code. London schoolchildren play street games with traditional counting songs, and adolescent girls skip rope and chalk squares across Edinburgh.

A local group of five family-owned West Riding weekly newspapers still in operation is profiled in the context of the communities they serve, from reporters and advertising personnel on the street, to composing and proofing the galleys and making pages from hot lead, to the early morning delivery boys.

The uncredited unseen narrator is the young actor Richard Burton. They called themselves Free Cinema.

These short films document what had been predominately white urban working- and middle-class Britain in the first era of the Cold War. The streets feel more open and at the same time more empty with the incredibly few automobiles there used to be on them. The cinematographers realized that what they were doing was not strictly objective, though some editors had a heavier hand than others e. The subjects speak eloquently for themselves, more often than not. The sound technology at this time was primitive and rather limited. They are fascinating to watch as characters, from the neighborhood children and working people who know each other well to strangers on London streets, as they interact with each other within the contexts of their particular settings.

Small Is Beautiful—The Story of the Free Cinema Films Told by Their Makers , the minute, documentary included at the end of the set, gives a good introduction to the movement and its personalities and places them in a broader context. Walter Lassally, a Free Cinema cinematographer, said he developed his technique for shooting Every Day but Christmas , a typical morning among vendors at the old Covent Garden fruit, vegetable and flower market, and the short art film Together , from closely observing his subjects and getting used to the rhythms in which they moved in their spaces.

Middle- and working-class crowds enjoy themselves at an enormous amusement park and pavilion in Margate, England, where campy sexuality and torture and death by execution are part of the entertainment.

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Together 49 minutes directed by Lorenza Mazzetti with the collaboration of Denis Horne and the technical assistance of Lindsay Anderson, John Fletcher and Walter Lassally, among others. Two deaf mutes as Beckettsian clowns British painter Michael Andrews and the Scottish sculptor and pop art pioneer Eduardo Paolozzi lyrically navigate the postwar ruins and oversized industrial landscapes of the old East End docklands, pestered by children.

A profile of a family-owned local newspaper group told in the context of the communities it serves in the West Riding of Yorkshire Wakefield, Horbury, Pontefract, Selby and Skyrack, etc. Throngs of pleasure seekers in Piccadilly Circus on a Saturday night, centered on the statue of Eros. Filmed on 20 consecutive Saturday nights using the natural light, with pieces of movie soundtracks, barkers, a busker, and stray conversations. The Singing Street 30 minutes written and directed by N.

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McIsaac, J. Ritchie and R. Edinburgh schoolgirls singing traditional songs while skipping rope and chalk squares and playing sidewalk games. A typical morning among vendors operating stalls at the year-old Covent Garden fruit, vegetable and flower market closed Enginemen Unit Five Seven 17 minutes directed and written by Michael Grigsby and his team, colleagues from his day job at Granada Television, among railroad engineers and rolling stock at a locomotive shed at Newton Heath, near Manchester, England.

A lively profile of activities offered at Alford House, a youth club in Kennington in south London, among a core of its local young men and women members.

Andrei Tarkovsky the Winding Quest(1)

Food for a Blluuusssshhhhhh! London schoolchildren larking and playing street games among postwar bombed out blocks to a soundtrack of traditional rhymes and counting songs. March to Aldermaston 33 minutes an anonymously-made collaborative effort about the Campaign for Nuclear Disarmament-organized, four-day march during Easter weekend from Trafalgar Square to the hydrogen-bomb producing factory at Aldermaston, about 50 miles west of London, with an uncredited narration by Richard Burton.

The Vanishing Street 19 minutes directed, written and filmed by Robert Vas. The broad empty streets without automobiles feel unnaturally eerie. Small Is Beautiful 43 minutes directed by Christophe Dupin. Monday, March 11, Certified Copy. Abbas Kiarostami makes films about the barriers to communication between men and women. William Shimell is an established English baritone who, apart from operatic performances, has never acted professionally on stage or screen. We have yet to see a satisfying analysis of this intriguing work. They are promoting the Italian translation of a provocative long essay Miller has written titled Copia conforme in Italian— Certified Copy.

A woman Binoche, without makeup—this comes on later , standing in the back of the room with her son Adrian Moore has Miller sign a copy of his book as he enters late to give his talk.

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As she whispers with Lenzi, she makes distracting hand motions to her son who is moving around the front of the room while Miller speaks, using a handheld electronic device. She arranges to meet Miller at the shop on a Sunday morning; the two spend the day together. That is, the couple seems to be talking carefully about everything except the thing they most want to discuss, which appears to be their failed relationship.

But the key to what actually is going on is something Miller says in his spiel:.

Semyon Kotko, Op. 81, Act IV, Tableau 2, Scene 4: "Эй! Кукушка!"

And I believe this approach not only valid in art. I was particularly pleased when a reader recently told me that he found in my work an invitation to self-inquiry, to a better understanding of the self.

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They act and react to each other as to their former partners, though also at times as their past and present selves. In alternating between different roles in English and French, they tell their emotional histories in metaphors as much to themselves—the self-inquiry—as to each other and the audience. Their emotional histories are the heart of this story. The role-playing Miller and She do is enhanced richly by poignant incidental encounters they have with a series of strangers as they stroll around this small Tuscan hill town through the day.

The town is itself a character. However, Miller draws the line at playing a fake.

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A copy that intimates an original is one thing; pretending to be something he is or they are not violates the spirit of the exercise.