Die Bazin-Connection: Von Stroheim/Puiu

Hier gibt es bestimmt einige Überlegungen anzustellen und dieser kurze Text kann nur ein Anfang sein. Es scheint mir so als wäre Cristi Puiu in vielerlei Hinsicht tief mit dem Werk von Erich von Stroheim verwurzelt. Wie ich darauf komme? André Bazin. Der französische Filmtheoretiker hat Von Stroheim als einen jener, wenn nicht gar den Stummfilmregisseur neben F.W.Murnau und Robert Flaherty identifiziert, der die Realität respektieren würde und daher die Montage mehr als notwendiges Übel, denn als genuin filmische Methode akzeptierte, identifiziert. Die Kamera würde nicht alles auf einmal sehen, aber sicher stellen, dass sie nichts von dem verlieren würde, für das sie sich entschieden habe. Man könne sich vorstellen, dass Von Stroheim einen Film in einer Einstellung drehe und dabei all die Hässlichkeit, die sich unter der Oberfläche des Daseins befinde, offenlegen würde. Damit würde man Bazin bis heute kaum widersprechen können. Nun hat Cristi Puiu seine Abschlussarbeit an der Universität über André Bazin geschrieben und rumänische Filmtheoretiker wie Andrei Gorzo (zum Beispiel hier) argumentieren immer wieder mit Bazin, wenn sie sich Puiu nähern. Er lässt sich sehr leicht in jene Kategorie stecken, die Bazin Filmemacher der Realität nannte. Eigentlich ist es gar so, dass Puiu diesen Begriff, der durch Von Stroheim geprägt war, auf eine neue Spitze getrieben hat. Es wäre jetzt etwas zu einfach, wenn man in den obigen Formulierungen über Von Stroheim einfach Puiu einsetzen würde, aber mir scheint, als könnte man das tun. Einzig hat Puiu diese Ideen noch weitergetrieben und einen stärkeren Fokus beziehungsweise ein deutlich präsenteres Bewusstsein gegenüber der Kamera und der Erzählperspektive für sich entwickelt. Bei Puiu akzeptiert die Kamera wohl, dass sie etwas verliert, selbst von dem, was sie sehen will. Dennoch finden sich auch hierfür Spuren bei Von Stroheim.

Dauer

The Death of Mr. Lăzărescu

The Death of Mr. Lăzărescu

Beide Filmemacher sind besessen von der Dauer der Dinge. Sie sind daran interessiert die erzählte Zeit und die Erzählzeit auf eine Ebene zu bringen, daher auch die Idee Bazins vom völligen Auslassen der Montage. Von Stroheim findet Sequenzen der Echtzeit, die von Jonathan Rosenbaum etwas irritierend als Slow-Motion bezeichnet wurde, vor allem in Blickwechseln zwischen Mann und Frau. Exemplarisch dafür jene Szene in The Wedding March zwischen dem auf seinem Pferd thronenden Nicki (Von Stroheim) und Mitzi (Fay Wray) im Fußvolk. Ein Flirt der Blicke vollzieht sich minutenlang bei Von Stroheim und erst in dieser Dauer entblößt sich das Begehren, die Widerwärtigkeit und die Liebe hinter den Figuren. Bei Puiu sind es eher die zurückgelegten Wege (zu Fuß und per Auto), die dieses Gefühl für die Zeit manifestieren. Seine drei Langspielfilme erzählen allesamt von Wegen. In seinem Debüt Stuff&Dough ist es eine Autofahrt nach Bukarest und zurück, in The Death of Mr. Lăzărescu ist es die verzweifelte Suche nach einem Krankenhaus mit Platz und Aufmerksamkeit und in Aurora sind es die Wege mehrerer grausamer Morde. Im Kern entsprechen diese Wege den Blicken bei Von Stroheim, da sich beide für den Zwischenraum interessieren, der sich zwischen zwei Handlungen und dem Drama offenbart. Sie interessieren sich für die Zeit dazwischen. So gibt es auch bei beiden Filmemachern jeweils lange Einstellungen auf sich ankleidende Figuren, Momente der stillen Reflektion (man denke an die zweifelnde Ehefrau in Blind Husbands am Abend auf der Hütte oder den pausierenden Viorel irgendwo auf dem Fabrikgelände in Aurora) und ein Gefühl für die Gleichzeitigkeit der Dinge. Letztere zeigt sich bei Von Stroheim immer wieder durch Cut-Aways, zum Beispiel auf Tiere oder Beobachter (eine Technik, die Bazin im Normalfall missfallen haben müsste), wogegen Puiu mehr auf Tiefenschärfe setzt. Allerdings gibt es diese bei Von Stroheim auch und das nicht nur in der berühmten Hochzeitsszene in Greed, bei der im Bildhintergrund durch das Fenster sichtbar ein Trauermarsch vorbeigeht. Es war Luchino Visconti, der davon geträumt hat, das Leben eines einfachen Mannes 24-Stunden zu filmen (Flaubert hat ähnliches von der Literatur verlangt). Es bleibt auch keine Überraschung, dass Thomas Mann sich nur Von Stroheim als Filmemacher vorstellen konnte, wenn es darum ging, wer sein mit der Zeit verschränktes Werk Der Zauberberg verfilmen sollte. Ein Buch, das man sich sehr gut in den Händen von Puiu vorstellen könnte. Beide Filmemacher nutzen die Dauer, um auf die Unwegsamkeiten des Banalen und Alltäglichen hinzuweisen. Ein mühsames Vom-Pferd-Steigen von Wolfram in Queen Kelly, das Drehen einer Drehorgel in Merry Go Round oder das Einladen von Getränken in Stuff&Dough und das Umgehen einer Pfütze in Aurora.

Kameraposition

Greed

Greed

Nun ist es so, dass Puiu von seinem Erstling Stuff&Dough bis zu seinem letzten fertiggestellten Werk Trois exercices d’interprétation an der Idee arbeitet, dass sich eine objektive Erzählposition durch eine Unmöglichkeit auszeichnet, die Unmöglichkeit, alles zu sehen. Objekte oder Personen, die Dunkelheit oder schlicht ein ungünstiger Winkel oder eine überraschende Bewegung lassen Figuren und Handlungen aus dem Blickfeld der Kamera verschwinden. Die Kamera ist dabei immer neutral, nie darf sie sehen, was eine Figur sieht, sie ist immer eine autonome Kraft (Gorzo verweist auf einem „Slip“ Puius, der sich am Anfang von Stuff&Dough entdecken lässt, als Puiu in einen POV aus dem Fenster schneidet. Einen solchen „Slip“ gibt es allerdings einige Male in diesem Film, beispielsweise auch später als die Protagonisten mit einem Polizisten diskutieren oder als einige Leichen an einem Feldweg entdeckt werden.). Es ist ein offenbar vom Direct Cinema beeinflusster Ansatz und doch finden sich schon Spuren bei Von Stroheim, der natürlich alleine aus technischen Gründen nicht im selben Handkamerastil wie Puiu drehen konnte. Damit meine ich nicht unbedingt diese Bereitschaft an tatsächlichen Orten zu drehen, wobei das sicher dabei hilft, aber es geht mir tatsächlich mehr um jene Szenen, in denen sich Von Stroheim keinen Schnitt erlaubt wie beim finalen Kampf von Greed als die Kamera einen winzigen Schwenk macht, um den aus den Bild stolpernden Protagonisten zu folgen. Jean Renoirs Diktum, dass der Bildausschnitt immer ein wenig zu eng sein solle, wird also bei Von Stroheim wie bei Puiu angewandt. So überrascht es auch nicht weiter, dass beide Filmemacher sehr viel mit Blicken ins Off arbeiten. Bei Von Stroheim ist das ein ästhetisches Prinzip, der zitternde, oft tränenreiche Blick in ein bestimmtes oder unbestimmtes Off und die Spannung, die dadurch zwischen dem On und dem Off entsteht. So ist es nicht nur in The Wedding March, dass ein solcher Blickwechsel entsteht, sondern schlicht in jedem seiner erhaltenen Filme gibt es mindestens eine solche Szene der Blicke. Spannend wird es dann, wenn Von Stroheim diesen Blick ins Off nicht als solchen inszeniert, sondern in einer Totalen arbeitet, wie zu Beginn von Blind Husbands oder Foolish Wives. Vor allem in letzteren sind die Blicke zwischen Von Stroheim und der Dienerin sehr subtil. Drückt der Off-Screen bei Von Stroheim also oft ein Verlangen aus, das sich in der Spannung zwischen dem was gesehen wird und wir nicht sehen können, erdet, so handelt es sich bei Puiu vielmehr um eine Verlorenheit und Leere, ein abgestorbenes Verlangen. Denken wir an die zahlreichen Blicke ins Off von Puiu selbst (ich werde keine Parallelen des Schauspielstils der beiden Filmemacher suchen) in Aurora. Wir sehen oft nicht, was die Figuren sehen, aber wie bei Von Stroheim geht es auch nicht darum, sondern es geht darum, wie die Figuren sehen. Ihre Reaktion verrät mehr als ihr Point-of-View.

Aurora

Aurora

Dennoch bleibt der in Wien geborene Filmemacher einer, der mit der Kamera wie ein Chirurg arbeitet, während sich Puiu sklavisch mit der von Bazin vorgeschlagenen Objektivität des Mediums verbrüdert. Hier muss man allerdings aufpassen, denn es ist ja gerade der Respekt vor der Autonomie der Kamera, der bei Von Stroheim das Chirurgische bewirkt. Der Grund für dieses perfektionistische Nachbauen von Gebäuden, zum Beispiel in Foolish Wives, dieses manische Verfolgen der Realität liegt in einer Angst vor der Objektivität der Kamera. Es geht um das Unsichtbare, was die Kamera sichtbar machen kann, das was man nicht kontrollieren kann und was eben in der Flüchtigkeit eines filmischen Moments in der Realität existieren muss, damit es im Film manifest wird. Die Kamera würde sonst durch die leeren Hüllen der Sets durchschauen. Puiu hat einmal gesagt, dass er wisse, dass man mit Film nicht objektiv sein könne, er sei kein Idiot, aber es würde ihn reizen, die Grenzen dieser Objektivität auszuloten. Daher sei hier nochmal klargestellt, dass es hier und auch bei Bazin nicht um einen naiven Realismusbegriff geht. Es geht vielmehr um einen Respekt vor der Realität. Ohne hier in die Tiefe einer kritischen Auseinandersetzung mit Bazin gehen zu wollen, sei darauf hingewiesen, dass beide Filmemacher natürlich keine Objektivität erlangen können. Es ist vielmehr eine ethische Frage. So machen beide Filmemacher immer wieder bewusst, dass es sich um einen Film handelt und dass die Position der Kamera etwas „fremdes“ in der diegetischen Welt sein muss. Bei Puiu, der im modernen europäischen Kunstkino arbeitet, ist das weniger überraschend, als bei Von Stroheim, der trotz aller Rebellionen und Widerstände ein Hollywoodregisseur war. Das hängt natürlich auch mit den Überresten eines frühen Kinos zusammen, aber Von Stroheim macht einem immerzu klar, dass man Teil eines Spiels ist, das liegt auch daran, dass man ständig in heimliches Lachen und versteckte Emotionen der Protagonisten einbezogen wird, die einem förmlich zublinzeln. Bei Puiu ist es vielmehr ein Zweifel, der in die Illusion führt, ein Zweifel an der Wahrnehmung, an Fakten, an den Dingen an sich. Bei beiden öffnen sich durch das Spiel und den Zweifel an den Oberflächen die Räume dahinter. Gerade weil die Kamera sich zurückhält und die Dinge in der Zeit beobachtet, wird sie zu einem Seziergerät. Gerade weil sie sich einschränkt, entblößt sie.

Radikalität einer Weltsicht

Foolish Wives

Foolish Wives

Was Bazin, Puiu und Von Stroheim überdies verbindet ist die schonungslose Radikalität ihrer Weltsicht, die ständig um egoistische Lügner und deren obsessive Reaktionen kreist und zwar nicht aus einem moralischen Impetus heraus (wobei dieser bei Von Stroheim nicht immer zu leugnen ist), sondern aus Überzeugung. Bei Von Stroheim finden wir uns in einer Welt der diabolischen Fragilität, hysterische und zerstörte Frauen treffen auf selbstsüchtige und verführende Männer, wogegen bei Puiu die Nüchternheit einer Machtlosigkeit regiert, die völlige Bewegungslosigkeit am Ende seiner Filme steht dafür. Natürlich ist Puiu deutlich härter und illusionsloser als Von Stroheim, aber immer wieder finden sich ganz ähnliche Szenen. Beide Filmemacher vermögen außerordentlich gut das Unbequeme eines Unwohlseins inszenieren. So kann man kaum die Szene vergessen, in der Von Stroheim seine Bedienstete in Foolish Wives belügt oder den Ehestreit in Greed. Es ist dieses Gefühl, dass man am liebsten aus dem Raum verschwinden würde, das bei Von Stroheim auch immer am unerträglichen Wetter hängt. Es ist die Hitze und Schwüle, der Regen, der Sturm, der die Figuren in unbequeme Situationen bringt. Man denke an die Frau, die keinen Blick von ihrem Gatten bekommt in Blind Husbands oder The Merry Widow, in dem sich die Frau ständig unliebsamen Begegnungen gegenüber sieht. Bei Puiu gibt es ganz ähnliche Momente, etwa der spontane Besuch der Mutter mit Freund in Aurora oder das merkwürdige Warten im Garten am Ende von Stuff&Dough (ganz zu schweigen vom Warten in den Krankenhäusern in The Death of Mr. Lăzărescu…). In der ersten Episode in Trois exercises d’interprétation findet sich sogar eine Figur, die praktisch von der ersten Sekunde an einfach nur gehen will. Hier will niemand eine Szene spielen, die Figuren sind ständig auf der Flucht. Bei Von Stroheim auf der Flucht in die Liebelei, bei Puiu auf der Flucht in die innere Hölle. Langeweile und Druck sind weitere unbequeme Eigenschaften, die beide Filmemacher darstellen. Druck löst sich oft in Übersprunghandlungen. Bei Von Stroheim ist das ein verkrampftes Lachen oder ein Tränenmeer, bei Puiu lediglich ein Blinzeln mit den Augen oder ein Ausbruch von Wut. Beide setzen beständig Menschen unter Stress, die dafür nicht unbedingt geschaffen sind und beide finden erstaunliche Wege für ihre Figuren, diesen Stress zu ignorieren. Denn Von Stroheim und Puiu sind Filmemacher der Verdrängung, die diese Verdrängung als solche erkennbar machen. Ständig drücken sich Figuren vor Verantwortung, obwohl sie zunächst welche übernehmen. Zum Teil verschwinden sie sogar einfach. Eine Erlösung ist bei beiden daher eine Illusion. Vielleicht das Ende des Films, aber nicht der Welt. Aber viel eher ist es nicht das Ende des Films, sondern der Welt.

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  52. Apple presently is made up of Rhapsody as an app, which is a exceptional start out, nonetheless it is previously hampered by means of the inability toward retail outlet domestically upon your iPod, and has a dismal 64kbps little bit selling price. If this changes, then it will relatively negate this ease for the Zune, yet the Ten audio per thirty day period will however be a substantial furthermore in Zune Pass‘ want.

  53. Amazing blog! Is your theme custom made or did you download it from somewhere? A theme like yours with a few simple adjustements would really make my blog shine. Please let me know where you got your design. Many thanks

  54. excellent points altogether, you simply gained a new reader. What would you recommend about your post that you simply made some days in the past? Any sure?

  55. I would like to thank you for the efforts you have put in writing this blog. I’m hoping the same high-grade website post from you in the upcoming as well. In fact your creative writing abilities has inspired me to get my own web site now. Really the blogging is spreading its wings fast. Your write up is a great example of it.

  56. Undeniably believe that which you stated. Your favorite justification appeared to be on the internet the easiest thing to be aware of. I say to you, I definitely get irked while people think about worries that they just do not know about. You managed to hit the nail upon the top as well as defined out the whole thing without having side effect , people could take a signal. Will probably be back to get more. Thanks

  57. I as well as my friends were reviewing the great helpful tips located on the website then the sudden I got a terrible feeling I had not expressed respect to you for those tips. These guys became for that reason joyful to read through all of them and have without a doubt been taking advantage of these things. We appreciate you indeed being really thoughtful and also for selecting such amazing subjects millions of individuals are really wanting to know about. My personal sincere apologies for not expressing appreciation to you sooner.

  58. I do trust all of the ideas you have introduced on your post. They are very convincing and will certainly work. Still, the posts are too brief for novices. May just you please lengthen them a little from next time? Thank you for the post.

  59. Sorry for the enormous review, however I’m really loving the contemporary Zune, and be expecting this, as well as the excellent evaluations some other us citizens contain written, will guidance you come to a decision if it is the specifically determination for your self.

  60. I like this site so much, bookmarked. „I don’t care what is written about me so long as it isn’t true.“ by Dorothy Parker.

  61. The refreshing Zune browser is surprisingly very good, still not as favourable as the iPod’s. It operates well, still just isn’t as prompt as Safari, and incorporates a clunkier interface. If oneself from time to time program upon getting the website browser which is not an issue, however if you are planning towards go through the world wide web alot from your PMP then the iPod’s greater display and greater browser may well be essential.

  62. Hi there, I found your website via Google while searching for a related topic, your site came up, it looks great. I have bookmarked it in my google bookmarks.

  63. I will tools this review to Two designs of humans: present Zune owners who are thinking about an upgrade, and persons attempting in direction of make a decision concerning a Zune and an iPod. (There are other players importance taking into consideration out there, such as the Sony Walkman X, nevertheless I count on this offers oneself sufficient information and facts toward create an aware choice of the Zune vs avid gamers other than the iPod line as effectively.)

  64. The fresh new Zune browser is remarkably optimistic, yet not as very good as the iPod’s. It is effective effectively, still is just not as quick as Safari, and includes a clunkier interface. If oneself occasionally software upon having the website browser that’s not an issue, yet if you might be building to go through the world-wide-web alot in opposition to your PMP then the iPod’s larger exhibit and much better browser may be considerable.

  65. I will gear this review in the direction of 2 layouts of americans: present Zune homeowners who are looking at an improve, and humans attempting in the direction of choose involving a Zune and an iPod. (There are other gamers importance looking at out there, which include the Sony Walkman X, nonetheless I expect this provides oneself ample information and facts in direction of make an aware determination of the Zune vs gamers other than the iPod line as nicely.)

  66. Sorry for the enormous evaluate, still I am truly loving the new Zune, and anticipate this, as perfectly as the very good testimonials some other us residents incorporate published, will guidance on your own decide if it is the immediately final decision for your self.

  67. Definitely believe that that you said. Your favorite reason appeared to be at the web the easiest factor to remember of. I say to you, I definitely get annoyed whilst folks think about worries that they plainly do not recognize about. You managed to hit the nail upon the highest and defined out the whole thing without having side effect , other folks could take a signal. Will probably be again to get more. Thanks

  68. Between me and my husband we’ve owned much more MP3 gamers over the a long time than I can rely, which include Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etcetera. But, the final few decades I have settled down in direction of just one line of players. Why? Due to the fact I was pleased toward take a look at how well-designed and fun to seek the services of the underappreciated (and broadly mocked) Zunes are.

  69. This is turning into a little bit further more subjective, nonetheless I a lot choose the Zune Market. The interface is vibrant, is made up of much more flair, and some cool features which include ‚Mixview‘ that allow for by yourself abruptly look at very similar albums, new music, or other end users equivalent towards what you happen to be listening in direction of. Clicking on one of those will heart upon that product, and a different mounted of „neighbors“ will occur into watch, letting on your own in the direction of navigate near studying via similar artists, new music, or customers. Conversing of consumers, the Zune „Social“ is in addition best pleasurable, making it possible for on your own uncover many others with shared choices and turning out to be close friends with them. By yourself then can hear in direction of a playlist built based upon an amalgamation of what all your friends are listening in the direction of, which is in addition enjoyable. People concerned with privacy will be relieved in the direction of notice by yourself can stay away from the public from viewing your personal listening behaviors if oneself as a result make a decision.

  70. Heya i am for the first time here. I found this board and I find It really useful & it helped me out a lot. I hope to give something back and help others like you helped me.

  71. The fresh Zune browser is amazingly superior, however not as superior as the iPod’s. It operates properly, but is just not as instantaneous as Safari, and has a clunkier interface. If you at times plan upon using the world-wide-web browser that’s not an issue, yet if you’re planning in direction of study the internet alot versus your PMP then the iPod’s greater show and superior browser may be necessary.

  72. Hello there, just was alert to your weblog through Google, and located that it’s truly informative. I am gonna be careful for brussels. I will be grateful should you continue this in future. Many other folks will probably be benefited from your writing. Cheers!

  73. Normally I don’t read article on blogs, however I wish to say that this write-up very forced me to try and do it! Your writing taste has been surprised me. Thanks, very nice article.

  74. The Zune concentrates upon becoming a Moveable Media Player. Not a world-wide-web browser. Not a video game machine. Potentially in just the upcoming it will do even much better in people areas, nonetheless for now it truly is a Wonderful direction towards organize and pay attention in the direction of your new music and motion pictures, and is devoid of peer within that respect. The iPod’s positive aspects are its world-wide-web viewing and purposes. If people stable extra compelling, maybe it is your ideal conclusion.

  75. Thanks for your strategies. One thing really noticed is the fact that banks plus financial institutions are aware of the spending habits of consumers while also understand that a lot of people max out their real credit cards around the breaks. They prudently take advantage of that fact and begin flooding your current inbox and snail-mail box by using hundreds of no interest APR card offers immediately after the holiday season concludes. Knowing that when you are like 98% of American general public, you’ll hop at the one opportunity to consolidate financial debt and shift balances for 0 interest rates credit cards.

  76. The clean Zune browser is remarkably Wonderful, however not as optimistic as the iPod’s. It functions well, however is just not as prompt as Safari, and consists of a clunkier interface. If by yourself from time to time method on having the website browser which is not an issue, however if you’re creating towards browse the world wide web alot towards your PMP then the iPod’s larger screen and greater browser may possibly be crucial.

  77. you’re really a just right webmaster. The website loading speed is amazing. It sort of feels that you’re doing any distinctive trick. Furthermore, The contents are masterpiece. you have performed a great activity on this topic!

  78. Zune and iPod: Maximum Those people evaluate the Zune toward the Touch, but at the time seeing how thin and shockingly small and light it is, I try it toward be a alternatively distinctive hybrid that combines qualities of both of those the Contact and the Nano. It’s Pretty colourful and gorgeous OLED display screen is a little smaller than the contact screen, nonetheless the player itself feels Really a little bit smaller and lighter. It weighs pertaining to 2/3 as a great deal, and is noticeably lesser in width and peak, although staying specifically a hair thicker.

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