Films byTexts by 1981
Article EN
31.03.2021

“I started from the idea that the more a woman is traditional, the less she needs an association with folklore in terms of sound. When you come across the image of a person whose clothes and attitude are very “conservative”, there’s no need to associate this person with flutes or tambours. At the end, during the party in the caves, the women dance while singing the most ordinary songs, popular street songs really, and I linked this to the fourth dance of Bartók’s “Dance Suite”. I thought it emphasized the inherent nobility of these women. I got the impression that it was original music, written especially for this moment!”

Article EN
31.03.2021

“I started from the idea that the more a woman is traditional, the less she needs an association with folklore in terms of sound. When you come across the image of a person whose clothes and attitude are very “conservative”, there’s no need to associate this person with flutes or tambours. At the end, during the party in the caves, the women dance while singing the most ordinary songs, popular street songs really, and I linked this to the fourth dance of Bartók’s “Dance Suite”. I thought it emphasized the inherent nobility of these women. I got the impression that it was original music, written especially for this moment!”

Conversation FR EN
17.03.2021

“[Fertile Memory] is the result of several years of work. I made several reports in the occupied territories, but I also have to say that the film was beyond me. The Palestinian question is basically an issue of oppression: an oppression that dominates the world. I said to myself that I would be able to give the Palestinian question a new dimension by talking about the most oppressed. I thought that women would help bring out all the contradictions.”

Conversation FR EN
17.03.2021

[C]’est le résultat de plusieurs années de travail, j’ai fait plusieurs reportages dans les territoires occupés, mais je dois dire aussi que le film m’a dépassé. Au fond, c’est quoi le problème palestinien, c’est le problème de l’oppression : une oppression qui domine le monde. Je me suis dit que c’était en parlant des plus opprimés que je parviendrai à donner une dimension au problème palestinien. J’ai pensé que la femme permettrait de faire ressortir toutes les contradictions.

Article FR EN
17.03.2021

The source that irrigates Fertile Memory springs from two poles that constitute the foundations and permanence of the Palestinian soul: usurped land and women. Few films show daily life in the physical and temporal reality (32 years for Mrs Farah Hatoum) of the Israeli occupation. And if these films exist, their lack of credibility is such that at best, we make do with imagining the thoughts behind the gestures and gazes – the deepest dimension of which only the prism of culture will render.

Article FR EN
17.03.2021

La mémoire fertile jaillit de deux pôles qui constituent les fondements et la pérennité de l’âme palestinienne : la terre usurpée et la femme. Rares sont les films qui donnent à voir le quotidien vécu dans la réalité physique et temporelle (32 ans pour Mme Farah Hatoum) de l’occupation israélienne. Ou, lorsque ces films sont, leur non-crédibilité est telle qu’on se contente dans le meilleur des cas, de deviner les pensées qui habitent gestes et regards et que seul, le prisme de la culture, nous restitue dans leur dimension profonde.

FILM
Rainer Werner Fassbinder, 1981, 119’

In 1938, a German singer falls in love with a Jewish composer in Zurich, who helps Jews flee Nazi Germany. She wants to help but is forced back to Germany. Her song "Lili Marleen" becomes a hit with soldiers and the Nazi top.

 

FILM
Patrick Keiller, 1981, 21’

Patrick Keiller's first film, Stonebridge Park, was prompted by the length and articulation of a footbridge over a major road junction in northwest London, and comprises moving-camera footage accompanied by a fictional narration written later. It's a film in two parts.

FILM
Rainer Werner Fassbinder, 1981, 115’

Germany in the autumn of 1957: Lola, a seductive cabaret singer–prostitute, exults in her power as a tempter of men, but she wants more – money, property, and love.

FILM
A Visit to Ogawa Productions
Jun’ichirô Ôshige, 1981, 62’

“I did like what you said earlier. Our practices define ‘civilization’. When they disappear, they’re ‘culture’. These days, video is the civilization, while film is turning into culture.”

FILM
Epitaph
Claes Söderquist, 1981, 27’

“In Epitaph, landscape has partly taken the place of man. The film can be described as a psychodrama about loss and of the expanding toil of memory.