Um lugar de encontro sobre a literatura e as artes no(s) espaço(s) anglo-americano(s), com alguns envios para outras cumplicidades.
"... eu só falo crítica." (Fernando Pessoa)
quinta-feira, 22 de novembro de 2012
"John Ford forever"
Sobre a ética do olhar escreve Serge Daney:
"A common and questionable idea has it that on television the close-up shot is king. If it was true, the man who one day shouted “I don’t want to see nose hair on a fifteen meter screen!” would not stand a chance on the small screen. John Ford wasn’t very fond of close-ups, or of expository scenes, which amounts to the same thing. He shot very quickly and spent only 28 days directing She Wore a Yellow Ribbon(and not La charge héroïque, the ill-translated and stupid French title). It was in 1949; he was his own producer and did whatever he fancied. Forty one years later, the film ‘passes’ perfectly from the big to the small screen (on Channel 1). Elementary, you say? Not quite.
Gilles Deleuze one day reminded the youngsters of the FEMIS school of cinema that their work as filmmakers would consist in producing ‘blocks of duration-movement’. And if Ford’s blocks remain so perfect, it’s because they respect the most elementary of golden numbers: they only last the time it takes a practised eye to see everything they contain (1). The time to see all there is to see is the right duration and the right movement for an eye as disciplined in the art of looking as Ford’s horsemen are in the art of riding.
A principle so simple that it allowed Ford to complicate, refine and even convolute things while always giving a feeling of timeless classicism. It isn’t the action which determines duration, it’s the perception of an ideal spectator, of a scout who would see from afar all that there is to see (but nothing more).
Rapid contemplation is the Ford paradox. It’s impossible to watch his movies with a lazy eye because we then no longer see anything (except stories of romantic soldiers). The eye must be sharp because in any image of a Ford’s film, there is likely to be a few tenths of a second of pure contemplation before the action starts. Someone goes out a wood shack or leaves the frame, and there are red clouds over a cemetery, a horse abandoned in the right hand corner of the image, the blue swarming of the cavalry, the distraught faces of two women: things to be seen at the very beginning of a shot, because they won’t be a ‘second time’ (too bad for the sluggish eyes).
Ford is one of the great artists of cinema. Not only because of the composition and the light of his shots but more deeply, because he shoots so quickly that he makes two movies at the same time: a movie to ward of time (stretching his stories out of fear of ending) and another to save the moment (the moment of the landscape, two seconds before the action). He enjoys the show ‘before’ (2). So with Ford there is not point looking for characters who, in front of a beautiful landscape, would say “How beautiful!” The character is not to whisper to the spectator what he should see. That would be immoral."
embora o Fernando Guerreiro diga que estou, cada vez mais, parecido com ele (com o Melville, aqui ao lado, esclareça-se). Persisto, porém, em, Portugal
onde desde há uns anos que sou Professor Catedrático na área de Estudos Ingleses e Americanos, na Universidade Aberta. Tudo começou, porém, com a licenciatura em Línguas e Literaturas Modernas pela Faculdade de Letras de Lisboa (1981). Depois, fui Mestre (1986) e Doutor (1993)por esta Universidade. Sou autor de vários livros de ensaios ("América - Pátria de Heróis" [Colibri],"Sylvia Plath - O rosto oculto do poeta [Cosmos],"História(s) da Literatura Americana"[Univ. Aberta], "Ekphrasis" e "O Nascimento de uma Nação" [Cosmos]), O essencial sobre William Shakespeare (INCM), traduções (Plath, Lowell, Carroll, Virginia Woolf, Mary Renault, Melville, et al), livros de poemas, e dois romances: "Pentâmetros Jâmbicos" e "Inveja - uma novela académica" (ambos publicados por Assírio & Alvim).