Frases sueltas
There was always more than one rhythm trying to be said at the same time and I heard everyone trying to say it simultaneously.
He died again in a room alone
I will continue to hold you
even in pieces
I’m unstable for you as a vocal chord or hum
What is the form love is the form
I’m trying to find sadness so I can destroy it
Aquí.
Es un modelo narrativo bélico, genera antagonismos.
Es efectivo en cuanto a la atención.
El cine no es ver un montón de cine, es salir a la calle, hablar con la gente. Pasa algo fuera que necesita de nuevas observaciones, sin tanto prejuicio, ni doctrina…
Cultura es armar un destibo en común, inventar un mundo, donde nos encontramos para ver dónde vamos.
Es alarmante lo poco situado que está nuestro pensamiento.
El lenguaje es poderoso, nos entrampa a todos, pero hay habilidad de apropiarse de él, con cierta libertad
Cuando nos enseñan narrativa, todo el problema es mantener la atención, hacia el futuro (judeo-cristiano, la claridad al final), no importa el presente, y si no importa el presente, no importa el cuerpo.
Que cada escena importe, no por lo que va a pasar, si no por lo que está pasando. Esto pone en duda la idea misma de tensión.
No tengan miedo de la apropiación cultural, la cultura es para apropiarse.
intentaba, con el encuadre, no generar palabras. Recortaba las cosas, que no fuera directamente una mesa, una silla, que no se vieran las cosas completas para que la palabra no se imponga.
Las personas, como monstruos, que no se sabe su naturaleza.
El sonido es el espacio “off”. Es la huella del espacio. Requiere del “no vacío”. Estamos conectados, hay continuidad, el aire nos conecta, no hay cosas separadas las unas de las otras. Las discontinuidades que generamos son muy arbitrarias. Estamos inmersos, somos pescados del aire.
Confundimos el cine, las cosas son el argumento, las historias no. El argumento es un modo de organizar el tiempo, es importante, pero lo que proponemos en el cine es un modo de percepción.
Día a día vemos sólo lo que podemos nombrar, pero lo inaudito… tenemos una herramienta que puede ir en busca de lo que no puede nombrarse.
Narrar es administrar la tensión.
El intercambio de “hola qué tal. Bien, gracias”, es amoroso, porque no interna al otro, no le cuentas tus rollos, le dejas pasar. Le facilitas el paso.
No hay que presentar a los personajes, si no se conocen las relaciones… Hay que comprender.
El fracaso es una oportunidad.
Migration studies should be poeticized otherwise risks to fall into banality. To be poeticized does not mean to be romantic, but to risk, to write dangerously. Otherwise we will repeat the world and it is to betray the world
A reactive text as a source of shame for most authors. Reactive vs active/moved my pleasure
The not knowing that’s painful, when you can’t stand what you’re writing but have to keep going to go beyond the irritations, clichés, tinny complaints of the self, when you don’t yet know how to alchemize them into something else. You can’t know how you’re going to do it without doing it.
Writing succeeds when it tells you how you feel but without doing an acrobatics of judgment on it… Stripping away the judgment about the feelings or thoughts.
Wiitgenstein “Why can’t my right hand give money to my left hand?”
The autobiographical pact
Slippery pronouns… queer literature?
Yo asocio la ficción al juego. El juego libera a las cosas de su ser.
“… el sexo nos expone a la vulnerabilidad que implica necesitar al otro para descubrir algo de nosotros mismos”,
The condition of the refugee is not simply a status or an experience, but a claim and a construct. And refugees are made not just by the conditions that force them to flee but by the response of others to that flight. Claims require the presentation of evidence and its consideration by an audience; this demand for narrative or self-exposure can seem at once like an interrogation or finally a chance to speak for oneself. Borrowing its title from a film by Phil Collins, and reading some of Hannah Arendt’s reflections on being a refugee, this paper will examine the means by which the claim and the refugee is made: aesthetic, political, legal, narrative, and others.
I see evidence being presented, an admission that it doesn’t speak for itself, but needs transmitters, ventriloquists, translators, staging. An asymmetrical collaboration.
Collins: Not to take a picture would have been an insult. People asked (a marker, chaos that needed to be recorded. Azoulay). Also, he’s surprised by how people stand still for the camera (even when it’s a videocamera)
The ambivalence of the witnessing camera. It can be both; a hearing can be an opportunity to be heard, or a violent interrogation.
At the heart of racism is the question that a man is not a man, a person is not a person, a human being.
The need for recognition from those who already consider themselves human and yet treat others like animals…
Claim for a transformation of status, and a declaration of an existing status.
Arendt: They are dependent on others, hence they need recognition, hence they male claims
Refugees have something to prove. There are no refugees without the ritual and rhetoric of proof; without the presentation of evidence.
“The loss of home and political status can become identical to being expelled from humanity altogether”
“Being human is something granted, and hence must be claimed”
Persuading the others on whose social standards we depend
“Humanitarian Reason” Fassin: In the past aid was given unconditionally (when?!), now applicants are required to expose their suffering. Through narrative, the testimony of the body, of forensic experts… Demands for evidence that the authorities require of their supplicants.
In return for the gift of fragments of their life, they receive the countergift of the means of survival.
Today the dominant ethos of the authorities regarding asylum is suspicion.
No evidence speaks for itself, the witnesses need other witnesses (ie; doctor’s certificate..). To make a claim heard always requires amplification.
Decisions for the minimal requirements for inclusion. Discrimination is always happening. Any community is premised on exclusion. Politics contests those demarcations. The history of human rights is that of arguments about who counts as “us humans”. Declaration of human rights: humans declared themselves subjects and objects of the utterance in which they named the human in one another. Their own witnesses and their own judges.
Paradigm of evidence, testimony, witness is a fundamental element of human rights and claiming for them.
With the claim of “we are human too” it’s not just adding chairs to a table it’s bringing in a new one, the definition of who we all are undergoes a shift.
“When I hear the phrase ‘sex scene’, I think about a dialogue scene,” Rooney told one interviewer. “What do these characters want to say to each other? I won’t just write a scene where two characters say words to each other randomly. Similarly, sex scenes have to actually play some dramatic role.”
Shatz/ Branco, here
The house is a body, a mechanism collapsing. Here.
A collection determined by chance 