Film braucht mehr Genies


In der aktuellen Ausgabe der cinema scope führt Mark Peranson ein Interview mit seinem Freund und dem Locarno-Gewinner Albert Serra. Er stellt seinem Gespräch ein Zitat von Salvador Dalí voraus: „It is not necessary for the public to know whether I am joking or whether I am serious, just as it is not necessary for me to know it myself.” Eigentlich geht das Interview dann aber gar nicht weiter auf die Frage ein, die sich mir bei meinem Interview mit Serra vor einigen Wochen gestellt hat (Interview): Meint er es ernst oder nicht? Albert Serra ist einer der wenigen Filmemacher, die sich ganz bewusst als Genie darstellen. Ein Genie, das sich an die ausdefinierteste Form des Autorenkinos stellt, die man sich vorstellen kann. Er sei der Beste, er sei der Einzige, er würde am Weitesten gehen; gewissermaßen ein eingelöstes Versprechen dessen, was Autorenschaft in den Köpfen vieler junger Filmbegeisterter heißt. 
Kritisch steht man einer solchen Haltung vielerorts gegenüber. Zum einen wird Autorenschaft im Film als Ganze hinterfragt. Wissenschaftler, Journalisten und vor allem Filmschaffende bringen zwei Ansätze der Autorentheorie durcheinander und vermischen die amerikanische und die französische Sicht auf den Begriff, indem sie beleidigt und ständig darauf verweisen, dass ein Film nicht nur von einer Person hergestellt wird. Damit haben sie natürlich Recht und dann können sie sich in ihre warmen Häuser zurückziehen und sich den nächsten Industriefilm zuführen, aber lieber eine TV-Serie, denn dort merkt man umso weniger von irgendwelchen Autoren. Film sei eben auch Unterhaltung, man müsse eben auch an das Publikum denken, bei Film ginge es um viel Geld und sowieso. Von differenzierteren Denkern wird der Autorenbegriff gerne als vereinfachend abgetan. Man kann nicht einfach nur das individuelle Werk eines Machers betrachten, man müsse auch immer sehen unter welchen Umständen es entstanden ist, unter welchen technischen und sozialen Voraussetzungen. In eine solche Welt platzt Serra. Er sagt, dass alles was er tue mit seinen eigenen Interessen zu tun habe. Wenn er etwas nicht machen würde, dann nur weil es ihm langweilig vorkäme. Er dreht nicht nach gewöhnlichen Regeln, er schreibt kein wirkliches Drehbuch, er schneidet Ewigkeiten mit unendlich viel Material und hat mit „Història de la meva mort“ mit großer Sicherheit einen der besten Filme des bisherigen Jahrzehnts gedreht. Drei Kameras nehmen gleichzeitig seine Improvisationen auf, für seine Art zu arbeiten liebt er das digitale Material, anders würde er gar nicht arbeiten können. Sein Verhalten ist einfach als arrogant abzutun. Er setzt sich über alles und jeden hinweg, greift gleichzeitig den Kunstfilm und den Industriefilm an, zeigt keinen wirklichen Respekt vor anderen Regisseuren. Man könnte Albert Serra als einen Post-Auteur bezeichnen, der gar nicht mehr versucht seine Autorenschaft zu rechtfertigen, indem er sie beispielsweise mit Wissen, Erfahrung oder eine besondere Weltsicht stützen würde. Fast ein absolutistischer Filmemacher. Einer der Aspekte, die zu einem solchen Kino gehören, ist sicherlich Konsequenz. Damit kann man sich im deutschen Sprachraum noch sehr gut anfreunden. Filmemacher wie Michael Haneke oder Christian Petzold bauen sich konsequente Filme, in konsequenten Oeuvres, die bisweilen furchtlos an Grenzen gehen und einen in ihrer Kohärenz mit wundervollen Momenten zu erdrücken wissen. 


Davor zieht man den Hut, aber was ist mit Freiheit? Freiheit in der Inszenierung, die so oft im Kino verbannt wird in ein trashiges Kino, aber dort herrscht ein Zwang zur Freiheit, der das Kino eben erst als Trash qualifiziert. Bei Filmemachern wie Albert Serra oder auch Carlos Reygadas und Andrzej Żuławski finden Extravaganzen aber jenseits des HauDrauf-Kinos statt. Nein, wo gibt es ein deutschsprachiges Kino, das sich den Launen und Stimmungen einer einzelnen Person beugt?  Dieses Kino kann es nicht geben in einer Welt, die schon den Begriff „Vision“ als lächerlich und veraltet abtut. Der Autor wurde säuberlich in eine Maschine integriert. In seinem „Century of Birthing“ lässt Lav Diaz einen Charakter sagen, dass er kein „Deadline-Filmemacher“ sei. Das impliziert schon die Abhängigkeit der Festivalmaschine und im Mainstreambereich der Fernsehmaschine, die Freiheit im Film zu einer Utopie verkommen lässt. Je größer eine Vision ist, desto weniger darf sie mit einer Vision zu tun haben, um verwirklicht werden zu können. Sie muss in Pakete verpackt werden und sie muss schmecken. Wie also kann Albert Serra dieses Spiel spielen? Zunächst noch eine andere Beobachtung: Heute hört man viele Menschen über die wunderbaren Vorteile von sozialen Plattformen und der unendlichen digitalen Revolution schwärmen. Der Gedanke, dass jeder Filmemacher sein kann, hat sich als ein völlig positiver Wert in den Köpfen der Menschen festgestellt. Es ist nicht nur einer Elite vorbehalten Filme zu machen und es ist auch lange nicht mehr so viel Geld nötig. Ist das wirklich so? Und ist nicht ein Nebenaspekt, dass auch lange nicht mehr so viel Schmerz, so viel Liebe und so viel Enthusiasmus nötig ist, um einen Film zu realisieren. Manchmal wünschte ich mir, man müsste noch ganz wie Werner Herzog seine Kameras klauen, um Filme machen zu können. Dann würde man sehr schnell wissen, ob man es wirklich will. Eine Folge der Überschwemmung an unbeholfenen Nachwuchsfilmen, ist zum einen, dass viele Menschen ihren Weg in den Filmbereich finden, die dort keine Kunst sehen. Filmschulen werden überbevölkert von Videofilmern, die sich gut kleiden können und trendige Spots drehen, damit sie auf Partys erzählen können, dass sie Film machen. Ich sage nicht, dass es diese Art Filmemacher nicht schon immer gegeben hat und ich sage auch nicht, dass ihre Produkte zwangsläufig eine niedrige Qualität haben. Aber mit ihrem Herzen haben sie noch nie einen Film gemacht und das verwirft natürlich per se jede Idee von Genie beziehungsweise längt sie in die falsche Bahn einer Willkür ohne jeden Boden. Albert Serra hat Boden. Die Art und Weise wie er seine Filme dreht, wie er über sie spricht, die Zeit und das Blut, das er investiert ragen weit über viele große Produktionen hinaus. Sein Ergebnis auch. Das hat auch mit einer Reflexion von Film, von Kunst zu tun, die eben jenen Videofilmern mit den Polohemden gänzlich fehlt. Zum anderen fördert das digitale Zeitalter eine Verrohung der filmischen Mittel, ja der filmischen Wahrnehmung. Kurz: Der Respekt vor dem Medium geht verloren. Das liegt natürlich daran, dass ja gar nicht mehr auf dem Medium Film gedreht wird, aber vieles an der Kreation eines Films bleibt doch in ganz ähnlichen Bahnen wie im analogen Zeitalter und da man mit simplen Knopfdrücken alles verändern oder gar vernichten kann, geht die Ehrfurcht vor Bild und Ton völlig verloren. Wozu sollte man sie auch haben? Aber mit Albert Serra fragt man sich schon, wann seine Aussagen und seine Selbstinszenierung zum bloßen Ausfüllen einer Marktnische werden, auf die ein reflexiv subversives Magazin wie cinema scope natürlich gerne aufspringt (und ich auch) und ab wann er hier ein tatsächlich freier Künstler ist. Natürlich tickt jeder anders. Vielen Filmemachern macht es einfach Spaß sich von den verschiedenen Teammitgliedern beeinflussen zu lassen, für viele ist die enge Zusammenarbeit mit Kamera, Produktion, Drehbuch oder Musik ein wichtiger Bestandteil ihrer Methode. Dennoch sage ich, dass Film wieder mehr Genies braucht, das heißt Filmemacher, die sich im Sinne einer möglichen Auslegung der Autorentheorie als Künstler etablieren, die sich über alles und jeden hinwegsetzen. 
Ja, wir sind intelligent genug, um zu wissen, dass es mehr Leute braucht um einen guten Film zu machen. Nein, wir müssen das nicht an jeder Stelle betonen. Und warum? In Literatur, Malerei oder bei Skulpturen gibt es in den meisten Fällen einen Künstler (ein Genie), der mit dem Werk assoziiert wird. Inwiefern beispielsweise Ideen in einem Roman von einer anderen Person stammen, ist völlig irrelevant in den alltäglichen Besprechungen, um die es hier ja geht. Beim Film gestaltet sich dieses Konzept an sich schon schwieriger, weil er sich aus verschiedenen Künsten zusammensetzt. Die Schauspielkunst, die Kamerakunst, die Drehbuchkunst, die Tonkunst, die Musikkunst, die Maskenkunst, die Kostümkunst, die Szenenbildkunst, die Lichtkunst und so weiter. Das sind gleichzeitig die schönste Sache am Film und sein Verhängnis. Schön, weil es einen Film aus den unterschiedlichsten Gründen zu einem reichen Werk machen kann und weil das Zusammenspiel der Künste einen tiefen Sog zu hinterlassen vermag und ein Verhängnis, weil man aufgrund des Aufwandes, der geleistet werden muss, um alle Künste zusammen erklingen zu lassen, immer schon automatisch in industriellere Kategorien wandert (ich denke, dass auch die anderen genannten Künste in industriellen Kategorien funktionieren, aber nicht im Ausmaß von Film). Aber natürlich erfordert das richtige Zusammenklingen dieser Künste eine besondere Kunst. Und diese liegt beim Regisseur. Damit offenbart er sich schon von seiner Aufgabe her als mögliches Genie. Denn es scheint mir unmöglich all diese Sachen zu erlernen, sie wirklich völlig zu beherrschen und zu kontrollieren. Intuition und Gefühl spielen eine große Rolle. Ich spreche dabei nicht davon, dass der Regisseur ein Genie ist, sondern dass der Regisseur als Genie anerkannt werden sollte. Er ist kein besserer oder intelligenterer Mensch als die Zuseher oder alle anderen Teammitglieder, aber in der Rezeption und damit ultimativ in der Freiheit, die man ihm in seiner Arbeit lässt, liegt für mich ein Schlüssel, damit Film weiter als Kunst funktionieren kann. Vielleicht ist Albert Serra ein sehr zurückhaltender Regisseur der sich viele Vorschläge anhört und dann entscheidet. Das ist nicht wichtig. Es ist eben nicht wichtig, ob er einen Spaß macht oder ob er es ernst meint. Es geht ausschließlich darum, dass er sich als Schöpfer eines Werkes installiert und mit seinen Aussagen Gedanken und Gefühle in Gang setzt. Das Kino braucht wilde Entscheidungen, die nicht logisch begründbar sind. Das Kino braucht einen romantischen Touch. Das Kino braucht etwas, das man nicht verstehen kann und weshalb man es weiter durchsuchen will. Das Kino braucht die Unschuld von Genies, es braucht Extravaganzen, subversive Angriffe, es braucht radikale Ansätze. Albert Serra ist der Schrecken aller Vernunft im Kino. Er ist, wie er selbst sagt „unfuckable“. Das Kino könnte auch „unfuckable“ sein. Aber dazu ist es wohl zu spät. Bezeichnend, dass dieser Mann einen Film mit dem Titel „Story of my Death“ gedreht hat.

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  57. The new Zune browser is amazingly Fantastic, still not as Wonderful as the iPod’s. It works nicely, however isn’t really as instantaneous as Safari, and contains a clunkier interface. If your self occasionally software on making use of the world wide web browser that’s not an issue, yet if you happen to be building toward examine the world wide web alot against your PMP then the iPod’s more substantial screen and improved browser could possibly be vital.

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  59. Apple at the moment is made up of Rhapsody as an application, which is a outstanding start out, nevertheless it is at present hampered through the lack of ability in direction of retail store locally upon your iPod, and incorporates a dismal 64kbps little bit cost. If this adjustments, then it will considerably negate this advantage for the Zune, however the 10 tunes per month will nevertheless be a large furthermore inside of Zune Pass‘ choose.

  60. I was just searching for this info for some time. After six hours of continuous Googleing, at last I got it in your site. I wonder what is the lack of Google strategy that do not rank this type of informative sites in top of the list. Normally the top web sites are full of garbage.

  61. I am going to equipment this review to 2 versions of people in america: present-day Zune owners who are contemplating an enhance, and Those people attempting to decide involving a Zune and an iPod. (There are other avid gamers truly worth thinking about out there, like the Sony Walkman X, but I be expecting this provides oneself ample data to crank out an knowledgeable decision of the Zune vs gamers other than the iPod line as nicely.)

  62. This is turning into a little bit even further subjective, nonetheless I much like the Zune Industry. The interface is colorful, contains even further aptitude, and some neat options like ‚Mixview‘ that allow your self suddenly view similar albums, songs, or other customers equivalent toward what you happen to be listening toward. Clicking on a single of people will center upon that solution, and another mounted of „neighbors“ will arrive into belief, allowing by yourself in the direction of navigate near researching by means of equivalent artists, music, or people. Speaking of people, the Zune „Social“ is far too fantastic enjoyable, allowing your self obtain some others with shared tastes and getting to be friends with them. Yourself then can listen towards a playlist built centered upon an amalgamation of what all your close friends are listening toward, which is as well remarkable. People worried with privateness will be relieved to recognize oneself can steer clear of the community towards observing your specific listening behavior if by yourself so get.

  63. Thanks for another fantastic article. Where else could anybody get that kind of information in such a perfect way of writing? I’ve a presentation next week, and I’m at the look for such info.

  64. If you are however upon the fence: get your preferred earphones, thoughts down in the direction of a Suitable Acquire and ask toward plug them into a Zune then an iPod and perspective which just one appears improved toward yourself, and which interface makes yourself smile much more. Then you can recognize which is specifically for your self.

  65. Hands down, Apple’s app retailer wins by a mile. It truly is a massive final decision of all kinds of apps vs a instead unsatisfied alternative of a handful for Zune. Microsoft incorporates systems, especially inside the realm of games, still I am not positive I might need to have toward bet on the potential if this attribute is major in direction of by yourself. The iPod is a considerably greater conclusion in just that situation.

  66. Apple previously has Rhapsody as an app, which is a superior start, however it is presently hampered by way of the inability in direction of store regionally on your iPod, and incorporates a dismal 64kbps little bit selling price. If this changes, then it will fairly negate this usefulness for the Zune, nonetheless the Ten new music for each thirty day period will still be a large moreover in just Zune Pass‘ favor.

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