Please activate JavaScript!
Please install Adobe Flash Player, click here for download
ePaper created 2013-12-20, 16:15:59 | version 1.26.00
Links
ROBERT BEAVERS The Ground (1993–2001) What lives in the space between the stones, in the space cupped between my hand and my chest? Filmmaker/stonemason. A tower or ruin of remembrance. With each swing of the hammer I cut into the image and the sound rises from the chisel. A rhythm, marked by repetition and animated by variation; strokes of ham- mer and fist, resounding in dialogue. In this space which the film creates, emptiness gains a contour strong enough for the spectator to see more than the image – a space permitting vision in addition to sight. (ROBERT BEAVERS) Andy Warhol once joked about how fabulous it would be to have a movie of a medieval shoulder. The Ground is, in some ways, that movie. More sensuous than austere, it evokes the timeless, sunbaked Mediterranean world of L’ avventura or Le Mépris. At the same time, Beavers’s film seems far more advanced in its self-contained artistry and eschewal of myth. The Ground feels like the expression of another century – but is it the 15th or the 25th ? (J. HOBERMAN, THE VILLAGE VOICE) ROBERT BEAVERS The Stoas (1991–97) The title refers to the colonnades that led to the shady groves of the ancient Lyceum, here remembered in shots of industrial arcades, bathed in golden morning light, as quietly empty of human figures as Atget’s survey photos. The rest of the film presents luscious shots of a wooded stream and hazy glen, portrayed with the careful composition of 19th century landscape painting. An ineffable, unnameable immanence flows through the images of The Stoas, a kind of presence of the human soul expressed through the sympathetic absence of the human figure. Discussing the works of Carl Dreyer, Beavers hits on a description that might serve as well for his Stoas. Dreyer, he says, »has an intuition, which combined with the restraint of the composition give the spectator something which is the exact opposite of the clutter of the ›well-made film‹.« The Stoas also gives the viewer the fruits of Beavers’ lifetime project of sussing and summoning rare bits of captured life through hand-made cinema. (ED HALTER, NEW YORK PRESS) 16/35mm, Farbe, Ton, 22 min. DREHORT: Athen, Gortynia (Griechenland). Der auf 16mm gedrehte Film wurde vom Filme- macher in der Endfertigung auf 35mm übertragen. Filmpatenschaft: 4000 Euro 16/35mm, Farbe, Ton, 20 min. DREHORT: Hydra (Griechenland). Der auf 16mm gedrehte Film wurde vom Filme- macher in der Endfertigung auf 35mm übertragen. Filmpatenschaft: 4000 Euro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fünfzig Filme 19