Kees Bakker

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jeudi 16 novembre 2017

Vigo après Vigo

Archives n° 109 – 111 – Septembre 2017

"Il était temps de sortir de la célébration pure et d’historiciser la place du cinéma de Vigo dans l’histoire du cinéma en général. On y fait état de nouveaux aspects révélés par des documents d’archives qui permettent de situer Vigo dans les multiples courants de l’avant-garde. On y examine l’impact des écrits et des films sur Jean Vigo depuis la génération des années 1950. On y évoque enfin la « filiation » de Jean Vigo dans le cinéma contemporain. Ajoutons que la disparition de Luce Vigo, fille de Jean, a rendu cette publication nécessaire et urgente.
Elle nous avait confié un texte qui a de bonnes chances d’être son dernier publié – réserves faites d’éventuels textes posthumes."

Ma contribution s'intitule : Le "point de vue documenté" et la genèse du documentaire. Vous pouvez trouver l'article ici

Achetez le numéro auprès de l'Institut Jean Vigo

jeudi 31 décembre 2009

Emile de Antonio : American Collage

In the framework of a retrospective of the work of Emile de Antonio in Milano Federico Rossin has edited a book on this important American documentary film director. This collection of essays gives a focus on each film of de Antonio by different authors like Peter von Bagh, Jonathan Rosenbaum, Nicole Brenez, Dario Marchiori and others. Federico Rossin wrote an introductory essay and compiled a de Antonio specific glossary. My contribution concerns the film In The Year Of The Pig (1968) and is entitled "History Like a Napalm Pie in the Face of the Spectator". But then in Italian...

Federico Rossin (a cura di), American Collage - il cinema di Emile de Antonio, Agenzia X, Milano, 2009.

Joris Ivens and Fumio Kamei - China, 1938

From 18 to 20 November 2008 the Beijing Normal University's School of Media and Arts, the Central Studio for Newsreel and Documentaries and China Film Archive organised an international academic conference titled "50 years of Joris Ivens and China". The life of Dutch documentary filmmaker Joris Ivens was closely linked to China over his long career. Ivens first came to in China in 1938. Over the next 50 years he shot four films about China. All became classics of documentary film. This year marks the 110th anniversary of Ivens' birth. An  wrapped up in Beijing Thursday. The organisers Zhang Tongdao and Sun Hongyun invited me for a talk in which I compared two films: one by Joris Ivens and the other by Fumio Kamei. This has now become an article, published in issue 3.1 of Studies in Documentary Film.

In 1938 both Joris Ivens and Fumio Kamei went to China to make a documentary about the war that was going on there between China and Japan. Ivens, sympathizing with the Chinese people, made The 400 Million. Kamei made Fighting Soldiers, intended as propaganda for the home front. Two films thus on the same war, but with opposed views. What does this mean for the representation and the interpretation of reality? Sketching a hermeneutic approach, this article tries to develop some possible answers to this question.

‘THEY ARE LIKE HORSES WITH BLINDERS ON’ One war, two views: Joris Ivens and Fumio Kamei, China, 1938 in Studies in Documentary Film 3.1, Intellect, Bristol, 2009, pp. 19-33.

Aux origines du documentaire

Dans le cadre du festival Filmer à tout prix (Bruxelles, 2008) et sous la forme d’un séminaire émaillée de quelques films de ma collection de 16mm, nous avons proposé, le temps d’une journée, un voyage de retour aux origines du cinéma documentaire.

Retrouvez la programmation et le petit texte du catalogue sur le site du festival (lien direct)

mercredi 8 octobre 2008

Ethics and Documentary

7th International Documentary Conference - São Paulo

Talk on the philosophical aspects of ethics and documentary during the 7th International Documentary Conference held in São Paulo, March 28-30 2007, mainly based on my article The Good, the Bad and the Documentary (you can find it here).