Rancière in London; Lumen update

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As previously stated, we had intended Lumen II to emerge before the end of 2014; unfortunately that time has elapsed, but rest assured that it’ll be along in 2015. Soon!

Of interest, in relation to our attention to Jacques Rancière in Lumen II: the A Nos Amours collective have organised a couple of events (involving a screening, lecture and panel discussion) with Rancière to mark the English publication of The Intervals of Cinema (Verso, 2014). Both events, taking place at the end of this week, are currently sold out; however some returns will be coming up, available via a waiting list. The Saturday event will be recorded and made available online. In outline:

Intervals of Cinema I: Rancière and Bresson in Dialogue
Friday 30th January, 2015 – 5.30pm-8.30pm
King’s College London
A screening of Robert Bresson’s Mouchette, followed by a discussion by Rancière of the film. Chair/Discussant: Mark Betz of King’s College London.

Intervals of Cinema II: Rancière and Cinephilia in London
Saturday 31 January – 1pm-4.00pm
Birkbeck College
Jacques Rancière will be joined at Birkbeck by specialists in cinephilia, Catherine Grant and Erika Balsom, in a discussion with screenings chaired by Oliver Davis. The meaning of cinephilia within Jacques Rancière’s life and work will be explored, as will its relevance today in London and elsewhere.

As an accompaniment, we would also strongly recommend reading Lumen II contributor Tristan Burke on The Intervals of Cinema in 3:AM Magazine!

Screenings: touring 35mm print of Sátántangó

Sátántangó

A Nos Amours is delighted to present with Scalarama Béla Tarr’s touchstone of durational cinema – Sátántangó. This legendary film, running at 432 minutes – or 7 hours 12 minutes! – deals with the collapse of a collectivised Soviet-era farm in rural Hungary. There is the scent of money in the air, as much as in chaotic and changeable times, a yearning for meaning and salvation. Who follows who and why are wonderfully uncertain, while landscape and topography and a terrifying wind are as much the eventual masters of the situation. Signature long takes, often as long as a 10 minute roll of film allows, combined with camera choreography offer a sublime cinema experience. To commit to Sátántangó is to commit to the unforgettable and life-changing: you will have reached the outer limits of cinema. A national tour of a brand new 35mm print.

See here for more details. A good opportunity also to refresh your memories of this unique work, ahead of the collected Rancière-Tarr reflections in the upcoming issue of Lumen this Winter in 2015.

 

A few changes and Lumen II

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Dear readers,

Yes, we’re still here… And we’d like to inform you of a few changes.

First, “Notes from Lumen” has now replaced the original site feed. So kindly update your bookmarks and readers to this blog to keep abreast of our announcements.

Second, our main site will now be taken down temporarily in order to carry out an extensive redesign. It will, however, be relaunched with a new issue later this year in 2015. We promise.

Third, a ‘heads up’ on what Lumen II will in part feature: a dossier on the cinema of Peter Nestler, a collection of impressions on Jacques Rancière’s monograph, Béla Tarr, The Time After, and an exclusive screening that we have custom subbed (title to be announced at launch).

See you in good time,

Lumen Journal eds.

Bitcoin & Litecoin donation addresses

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Lumen is, and will continue to be, free of charge and of advertising as a matter of principle. We are, however, more than happy to accept donations towards our running-costs (e.g. web hosting, DNS registration) using Bitcoin and Litecoin at the following addresses:

  • Bitcoin (BTC): 15YS5xCDAgq6iixgd2F4K87ZQwLcxYzTK2
  • Litecoin (LTC): LTev4CU79FJhNXn1pDYkMSkKVDSfycBFjC

And above are both of the QR codes.

Sight & Sound Greatest Films Poll 2012

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Invariably more interesting than its anonymously aggregated top 50 list is Sight & Sound’s complete poll, published earlier today, which focuses more on the subjective nature of the exercise, and individually correlates each balloted film to its voter(s). It’s also refreshing to witness the number and scope of participants broadened to include a younger and less well-known generation of voices, especially those not operating in an exclusively professional capacity. We would like here to draw attention to a selection of lists submitted by some friends and collaborators which may be familiar to Lumen readers, including Apichatpong WeerasethakulMay Adadol Ingawanij, Tag Gallagher, Miguel Marìas, Matthew Flanagan, and Edwin Mak.