Heimsuchungen

Es folgt ein idealistischer Text, den einige wenige Personen womöglich verstehen können. Für alle anderen sei gesagt, dass es sich hierbei nicht um eine Fantasie handelt.

Wenn das Kino ein Haus wäre, wüssten wir nicht wie wir hinkämen. Wir wären schon da. Es ginge eine Treppe hinab wie in Céline et Julie vont en bateau von Jacques Rivette und dort irgendwo wäre es. Die Türen wären verschlossen. Man hätte das Gefühl: Hier war mal irgendwas, irgendwer. Man würde wissen wollen, was hinter der Tür ist. Man würde klopfen, durch Fenster spähen, um das Haus herumgehen. Man würde Dinge aus dem Haus hören. Irgendwann würde man merken, dass man gleichzeitig bereits im Haus sein würde. Man würde nach draußen blicken, den Wein riechen, die Wespen hören. Man würde alles sehen, ergriffen sein. Man würde es an der Tür klopfen hören und niemals würde man sich öffnen. Nichts davon würde im Konjunktiv geschehen. 

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Es hat mich immer begeistert wie sich in Céline et Julie vont en bateau, El espíritu de la colmena von Victor Erice und Visita ou Memórias e Confissões von Manoel de Oliveira drei ganz ähnliche, von Wein umgarnte Häuser als Ideen des Kinos manifestieren. Bei Rivette ist es eine rauschhafte Fantasie, nie greifbar, irgendwie riesengroß und winzig zugleich. Es gibt dieses Haus im Film, in dem plötzlich ein anderer Film abläuft. Das Kinohaus hat etwas Geheimnisvolles, deshalb liebt Rivette das Kino und das Kino liebt Rivette. Man schluckt Pillen und ist dort und wenn man rauskommt und sich nicht mehr erinnern kann, hat man Pillen im Mund, kleine bunte Pillen. Trotzdem sind die Türen verschlossen, sie öffnen sich plötzlich und unheimlich. Dieses Haus wird aufgesucht, man fragt danach, es steht irgendwie da. Es ist eine unbegreifliche Sache dieses Haus, immerzu lachen Céline und Julie, wenn sie weinen und sie weinen, wenn sie lachen. Es erinnert an Por primera vez von Octavio Cortázar, diese erste Begegnung mit dem Kino, diese Neugier auf etwas, das vielleicht eine Party ist, vielleicht ein Tanz. Die weit aufgerissenen, furchterregten Augen von Kindern, die Schreie am Anfang von Sombre von Philippe Grandrieux, Kinderschreie schrecklicher Angst, die nie genug bekommen können. Weit aufgerissen wie jene von Ana Torrent im Kino und dann zuhause in ihrem Haus in El espíritu de la colmena. In diesen Sekunden, in denen man die Augen nicht schließen kann, obwohl man will, altert man. In diesen Sekunden existiert Zeit. Man denkt an Ten Minutes Older von Herz Frank, ein Film in diesem Haus. Man will zurückkehren, man will immer wieder heimkehren in dieses Haus. Man ist nie wirklich dort.

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Bei Rivette erinnert die Szenerie im Inneren des Hauses mehr an Fernsehen als an Kino. Allerdings ist das eine sehr oberflächliche Betrachtung, die am Szenenbild, am Gestus des Gezeigten hängenbleibt. Vielmehr versteht man nie, was dort wirklich vor sich geht, es gibt ein in diese Oberflächlichkeit eingebautes Rätsel, das sich zum einen durch das Prinzip der Wiederholung entfaltet und zum anderen in kleinen Merkwürdigkeiten wie den tödlichen Blumen, die zu Bildern werden, die nichts und alles bedeuten wie so oft bei Rivette, Bilder, die zugleich in diesem Haus sind und sehr weit davon entfernt. Rivette ist ein Mann der Häuser, die das Kino sind. Labyrinthische Spiegeldecken wie in L’Amour par terre, große Türen und Rahmen ins Licht wie in La belle noiseuse, versteckte Schatten verbergen Gemälde und Schlüssel wie in La bande des quatre, es gibt immer etwas, was wir noch nicht gesehen haben, immer etwas tieferes, was durch den unerbittlichen Motor und Hauch der Zeit verdrängt und hervorgekehrt wird. Bei Rivette werden keine Geheimnisse freigelegt, sie befreien sich viel mehr und werden zu Bewohnern seiner Häuser, die man Filme nennt. Außerdem generiert sich für Céline und Julie in diesem Haus ein Zusammensein, ein Kinoerlebnis, denn es ist auch ein Ausgeliefertsein. Sie sitzen lachend zusammen und beginnen irgendwann gemeinsam in dieses Haus zu gehen, egal ob tatsächlich oder imaginär, gemeinsam die Pillen zu schlucken. Dann verschwinden sie und sind im Haus. Zwar gibt es eine Sequenz, in der klar wird, dass auch ein Ausstieg möglich ist, aber letztlich treibt es die beiden immer weiter in die Tiefe durch die Oberflächen hindurch. Das Kinohaus ist ein Haus der Wiederkehr, der Heimsuchung.

Das zeigt auch Manoel de Oliveira in seinem Visita ou Memórias e Confissões, in dem zwei fast unsichtbare Besucher nach dem Filmemacher in seinem Haus suchen. Das Kinohaus muss ein Geisterort sein, denn die Bilder kommen aus der Vergangenheit, sind aber in der Gegenwart. Bei Rivette, de Oliveira und Erice gibt es das Motiv der Heimsuchung in diesen Kinohäusern. In einem Wechselspiel aus Vertrautheit und Fremdheit oder eher der Dringlichkeit, in der Vertrautheit in Fremdheit umschlägt und Fremdheit und Vertrautheit, öffnen sich die Fenster und ermöglichen eine Heimsuchung des Kinos. Es ist das, was einen in Erwartung versetzt. Zum Beispiel das vom Wind geöffnete Fenster. Sie sind ein Fremdgeist in der Vertrautheit und wir spüren sie nie so stark wie im Kino. Doch es ist eben nicht nur Angst, die sich darin entflammt, sondern auch Begehren, ja Sucht. So kehrt das junge Mädchen in El espíritu de la colmena an den Ort zurück, an dem sie ihre tote Schwester auf dem Boden liegend vermutet. Doch die Schwester, die ihr nur einen Streich spielt, ist nicht tot. Sie lauert mit einem riesigen Handschuh hinter ihr. Das erstaunliche: Das junge Mädchen scheint fast darauf zu warten, auf den Schrecken, der nur einmal im Film wirklich ausbricht, und zwar als die beiden Geschwister nach dem Kino heimkehren. Sie schreien, als würde Frankensteins Monster, das sie gerade im Kinohaus gesehen haben sie verfolgen. Man flieht nicht vor dem Kinohaus. Man flieht nur vor der Erinnerung daran. Im Kinohaus gibt es keine Flucht, es gibt nur Träume und Albträume, in die man immer wieder zurückfällt. Das hat Chantal Akerman in ihrem letzten Film, No Home Movie gezeigt. In einer Nacht erwacht die Filmemacherin und/oder die Kamera nach einem Traum und geht durch die Wohnung, es ist eine Art Nachbild des Traumes, denn dieser Gang wird zum Albtraum für den Betrachter, ein geteilter Albtraum in einem Haus, in dem das Vertraute plötzlich fremd wirkt.

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Stellt man eine Kamera in ein Haus, ist es eine Fiktion. Es gibt Auf- und Abtritte wie bei Ernst Lubitsch oder in Cristi Puius Sieranevada. Es gibt eine Intimität, eine räumlich bedingte Nähe. In einem Haus spielt man immer Theater. Rivette hat das Theater in L’Amour par terre auch deshalb in ein Haus gelegt. Das heißt nicht, dass ein Haus etwas repräsentiert, dass in einem Haus etwas repräsentiert werden muss. Ein Haus kann auch einfach nur sein. Aber die Kamera in diesem Haus setzt die Personen und Objekte im Haus in eine Relation zum Haus. Der Reichtum von De Oliveira, die Bourgeoise-Geheimnisse bei Rivette, Reichtum und Spärlichkeit bei Erice. Alles ist immer ein Spiel wie jenes zunächst unschuldige Spiel der Mädchen bei Erice, der Freundinnen bei Rivette, der geisterhaften Besucher bei De Oliveira. Ein Spiel, das sich fragt: Gehe ich noch einen Schritt weiter in die Fiktion, vielleicht in den Keller, vielleicht in den Dachboden? Wie könnte man eine Kamera in ein Haus setzen ohne Fiktion? Jedes Zimmer ist eine neue Geschichte, ein neuer Blick, eine neue Möglichkeit. Jede Tür, jede Schublade, jeder Vorhang verbirgt ein Geheimnis. Jede Distanz wird zu einer Nähe im Haus.

Es findet in den drei Filmen von Rivette, Erice und De Oliveira immer auch ein Dialog zwischen Häusern statt. Die Reise vom einen Haus ins andere, die Heimkehr und Wiederkehr vermischen. Denn man lernt die Räume auch kennen, sieht sie mehrfach, die Fenster, die Türen, die Wege. Die Häuser erlauben den Filmemachern zeitliche Aspekte des Kinos räumlich zu fassen. Sei es durch das Licht, das durch die Fenster kommt oder etwa das, was vor dem Fenster passiert, während man hinter ihm ist und hinter dem Fenster, während man vor ihm ist wie in Jean Renoirs La chienne. Ein Film wie das Fenster im Kinohaus. Sei es durch Blicke durch die Fenster- und Türrahmen. Fenster, die Blicke bedeuten und das Stillstehen von Zeit, das Nichts einer Gleichzeitigkeit wie etwa bei Sharunas Bartas in Coridorius oder hinaus ins ferne, einsame Ungewisse wie bei John Ford. Diese Häuser bewegen sich. Man denke an das hysterische Licht von der Straße, das im Haus von Jeanne Dielman wie der sichtbare Ausdruck einer in sich verborgenen Gefühlswelt durch die Zeit arbeitet, die immer gleiche Zeit in diesen immer gleichen Zimmern. Das haben diese Kinohäuser alle gemeinsam. Diese Wiederholungen, die sie immer wieder in die gleiche Form bringen wollen und sollen. Ein architektonisches Verständnis für das Drama eines Hauses. Joanna Hogg hat diesen inneren Dialog der filmischen Sprache in ihrem Exhibition auf die Spitze getrieben. Dort zeigt sich nicht nur wie eindrücklich Häuser das Doppelverhältnis von Sehen und Gesehen-Werden in sich tragen können, sondern auch welche Heftigkeit von einer Veränderung des Kinohauses ausgeht. Die Spuren in Häusern, wenn man so will. Man denkt an Hitchcocks Rebecca, ein großer Film der Heimsuchung in der ein Verbrechen in der Vorstellung eines Hauses weiterlebt. In einer Szene projiziert der Mann einen Film in diesem Haus und das flackernde Licht lässt das Haus im Kino verschwinden, macht Haus und Kino zu einer Sache. Auch in Dillinger è morto von Marco Ferreri gibt es dieses Auflösen von Kinobildern im Heim, das immer auch ein heimliches Begehren, Bedauern in der Auflösung bedeutet. In El espíritu de la colmena gibt es am verlassenen Haus auf dem Feld einmal tatsächlich eine Spur. Ein Fußabdruck, der das junge Mädchen an Frankensteins Monster erinnert. Warum bringt einen das so aus der Fassung? Es ist im Kino angelegt, dieses Spannungsverhältnis zwischen Gewohnheit und Überraschung. Zwischen der Erwarteten, dem Erwartbaren, dem was man erwartet nicht zu erwarten und dem was mich nicht erwartet zu erwarten. Am Anfang ist da ein Vorhang, eine Tür. Wir klopfen oder klingeln. Jemand wird öffnen oder nicht. Wir treten ein oder schleichen herum. Wir nehmen Teil oder beobachten. Wir werden angesehen oder nicht. Wir verstecken uns oder ziehen uns aus. Wir halten alles für möglich und nichts für wahrscheinlich.

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Schließlich gibt Rivette am Ende von Céline et Julie vont en bateau dem Kinohaus genau jene Umkehr, die die wahre Heimsuchung bedeutet: Das Haus ist auch außerhalb des Hauses. Die Bewohner des merkwürdigen Schauspiels dort existieren in der Welt, die wir für außerhalb des Hauses hielten. Wie die Angstschreie vor Frankenstein. Man könnte es etwas platt als Imagination beschreiben, um die es in diesen Häusern und entfernt von ihnen geht. In Wahrheit ist es aber eine Wahrnehmung, eine Lebensweise. Das Kinohaus ist keine Sache, die man wirklich betreten oder verlassen kann. Man trägt es in Augen und Ohren. Die ganze Welt ist entweder ein Kinohaus oder nicht. Das Kino sucht ständig alle Orte heim, macht sie zu einem Heim des Kinos. In El espíritu de la colmena zeigt sich das ganz besonders deutlich. Dort kann jedes Haus zum Kino werden, der Film beginnt auch mit einem Wanderkino. Das Kino kommt in die Häuser, sucht die Häuser heim.

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  56. Sorry for the substantial research, nonetheless I am very loving the contemporary Zune, and anticipate this, as properly as the Terrific critiques some other persons contain penned, will help you determine if it is the immediately selection for you.

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  62. If you happen to be nevertheless upon the fence: get your beloved earphones, thoughts down toward a Great Acquire and ask in the direction of plug them into a Zune then an iPod and watch which a single appears greater towards by yourself, and which interface tends to make by yourself smile much more. Then you’ll notice which is directly for yourself.

  63. Whats up are using WordPress for your site platform? I’m new to the blog world but I’m trying to get started and set up my own. Do you require any html coding expertise to make your own blog? Any help would be really appreciated!

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  69. Thanks a bunch for sharing this with all of us you actually understand what you are speaking approximately! Bookmarked. Please also visit my site =). We can have a hyperlink trade contract among us!

  70. I’ll tools this study towards 2 types of Those: recent Zune householders who are considering an improve, and human beings hoping towards make your mind up in between a Zune and an iPod. (There are other gamers well worth considering out there, like the Sony Walkman X, nonetheless I anticipate this provides your self more than enough facts in direction of make an knowledgeable decision of the Zune vs players other than the iPod line as very well.)

  71. Hi, i think that i saw you visited my site thus i came to “return the favor”.I am attempting to find things to improve my site!I suppose its ok to use some of your ideas!!

  72. Great blog here! Also your website loads up very fast! What host are you using? Can I get your affiliate link to your host? I wish my web site loaded up as fast as yours lol

  73. Sorry for the enormous review, however I’m definitely loving the contemporary Zune, and anticipate this, as nicely as the good quality evaluations some other men and women include published, will guidance oneself determine if it is the straight final decision for oneself.

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  75. If you might be nevertheless on the fence: seize your beloved earphones, intellect down towards a Great Get and question toward plug them into a Zune then an iPod and look at which one seems improved in direction of on your own, and which interface will make you smile much more. Then you can expect to understand which is directly for by yourself.

  76. I will tools this evaluation in direction of 2 versions of americans: latest Zune householders who are taking into consideration an update, and Those seeking towards determine between a Zune and an iPod. (There are other players importance considering out there, like the Sony Walkman X, nonetheless I count on this gives your self more than enough details toward generate an knowledgeable decision of the Zune vs players other than the iPod line as properly.)

  77. Palms down, Apple’s app retail outlet wins as a result of a mile. It is really a massive alternative of all varieties of purposes vs a pretty sad conclusion of a handful for Zune. Microsoft contains plans, in particular inside of the realm of online games, however I am not absolutely sure I would want toward bet upon the future if this attribute is significant in direction of oneself. The iPod is a substantially far better preference inside that situation.

  78. Zune and iPod: Optimum americans examine the Zune toward the Touch, yet the moment viewing how thin and surprisingly minimal and mild it is, I acquire it in direction of be a quite special hybrid that brings together features of the two the Touch and the Nano. It can be extremely colorful and beautiful OLED show is slightly smaller sized than the contact screen, nevertheless the participant alone feels reasonably a little bit scaled-down and lighter. It weighs with regards to 2/3 as substantially, and is drastically smaller sized in width and height, When getting accurately a hair thicker.

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  80. Zune and iPod: Optimum individuals review the Zune in the direction of the Contact, but the moment watching how slim and remarkably little and mild it is, I look at it in direction of be a alternatively distinctive hybrid that brings together attributes of both the Touch and the Nano. It’s Really colorful and attractive OLED screen is a bit lesser than the touch screen, nevertheless the player alone feels reasonably a little bit more compact and lighter. It weighs more than 2/3 as much, and is significantly more compact in just width and top, although staying merely a hair thicker.

  81. I loved as much as you will receive carried out right here. The sketch is attractive, your authored subject matter stylish. nonetheless, you command get bought an shakiness over that you wish be delivering the following. unwell unquestionably come more formerly again as exactly the same nearly very often inside case you shield this increase.

  82. Between me and my partner we’ve owned far more MP3 gamers above the years than I can count, like Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and many others. But, the past number of yrs I have solved down towards one line of avid gamers. Why? Because I was joyful towards obtain how well-designed and exciting toward retain the services of the underappreciated (and broadly mocked) Zunes are.

  83. You really make it seem really easy together with your presentation however I find this matter to be really something that I feel I would never understand. It sort of feels too complicated and extremely vast for me. I’m taking a look forward for your subsequent post, I will attempt to get the dangle of it!

  84. Arms down, Apple’s application retail outlet wins by a mile. It can be a enormous number of all types of purposes vs a really unhappy determination of a handful for Zune. Microsoft consists of systems, specifically within just the realm of video games, however I am not positive I would need toward guess on the long run if this component is sizeable in direction of on your own. The iPod is a a lot better conclusion inside of that situation.

  85. I was just looking for this information for a while. After six hours of continuous Googleing, at last I got it in your web site. I wonder what is the lack of Google strategy that do not rank this type of informative sites in top of the list. Generally the top web sites are full of garbage.

  86. The Zune concentrates upon remaining a Transportable Media Player. Not a website browser. Not a activity machine. Possibly in the potential it’s going to do even much better inside individuals areas, but for already it truly is a excellent path toward prepare and listen to your audio and flicks, and is with no peer inside that regard. The iPod’s strengths are its internet checking out and applications. If these stable further more compelling, probably it is your most straightforward determination.

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  88. Great goods from you, man. I have understand your stuff previous to and you are just too fantastic. I really like what you have acquired here, certainly like what you are stating and the way in which you say it. You make it enjoyable and you still take care of to keep it smart. I cant wait to read much more from you. This is really a tremendous site.

  89. If you happen to be nonetheless on the fence: grab your favorite earphones, thoughts down towards a Least complicated Invest in and talk to toward plug them into a Zune then an iPod and look at which a single appears much better in the direction of your self, and which interface generates you smile even further. Then you’ll recognize which is right for yourself.

  90. Among me and my partner we’ve owned excess MP3 avid gamers above the several years than I can depend, which includes Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so forth. But, the past number of decades I have resolved down to a person line of gamers. Why? Because I was delighted in the direction of come across how well-designed and enjoyment toward use the underappreciated (and extensively mocked) Zunes are.

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