Il Cinema Ritrovato Tag 4: Pferde schwimmen in Farbe

Am Vorabend stolpern wir in eine Restauranteröffnung und schnappen uns formidable Pizzastücke umsonst, das Licht in den schmalen Gassen ist gemalt, jemand brüllt laut vor dem Kino, als Italien gegen Spanien gewinnt. Ab und an winkt sogar Regen, der dann doch nicht wirklich kommt. Außerdem verschlägt es uns in die Bibliothek, in der so viele Buch- und DVD-Schätze liegen, dass man einfach zuschlagen muss. In den Pausen sitzen wir auf den Millimetern Schatten, die bleiben, die schrumpfen, die schmelzen. Jemand holt ein glühendes Eis. Die Klimaanlagen fühlen sich an wie Fieber.

Ioana und Rainer sind begeistert von einigen Chaplin-DVDs. Im Hintergrund kauft Patrick ein. (Foto: Lorenzo Burlando)

Patrick beschließt, dass sein nicht vorhandenes portugiesisch genug ist, um dieses Buch über João César Monteiro zu kaufen. Rainer schaut. (Foto: Lorenzo Burlando)

Zeit und Raum, die für das Kino so entscheidend sind, verlieren auf einem Festival oft an Bedeutung. Die Zeit ist das Kino, der Raum ist das Kino. Man wird förmlich initiiert und mitgerissen von dieser Bedeutung des Kinos, die erschreckend und doch erwartbar größtenteils (jenseits der Screenings am Piazza Maggiore) am breiten Publikum vorbeifliegt. Die Kinos sind übervoll, ja, es gibt große Begeisterung, ja, aber es ist eine cinephile Insel, man gehört gewissermaßen zu den Auserwählten, die verstehen wie wichtig das ist, was man da sehen kann. Zum Beispiel ein Besuch des deutschen Kaisers in Istanbul 1917, der im Rahmen einer kleinen Schau für das türkische Filmarchiv gezeigt wird. Oder aber mein persönlicher Liebling auf dem bisherigen Festival, ein Fundstück von purer Simplizität und Anmut. Die Kinemacolor-Restauration einer Soldatenübung aus dem Jahr 1912 mit dem Namen Plotoni nuatatori della III divisione cavalleria comandata da S.A.R. il Conte de Torino. Darin sieht man Soldaten, die mit Pferden einen Fluss überqueren. Die Kamera schwimmt mit ihnen, die Pferde streiken oder planschen, man verliert sich ähnlich wie im Kino von Jean Vigo in der reinen Freude dieser Bewegung. Luca Comerio heißt der Filmemacher, der die ersten farbigen Dokumentarfilme Italiens realisierte. Die Welt der Vergangenheit bewegt sich in Farbe. Dieses Wunder wirkt auf mich hier in Bologna noch viel stärker, als wenn man bewegte Bilder an sich sieht. Denn diese Farben war schon verloren. Es ist nicht einfach nur das Abbilden der Welt, sondern das Wiederherstellen einer bereits verlorenen Abbildung. Ich würde diese eigentlich logische und bekannte Arbeit gelassener hinnehmen, würde ich nicht derart von ihr begeistert sein. Es ist gewissermaßen eine Wiedergeburt dieser Bilder der vergangenen Welt. Die Einfachheit des Ganzen ist gleichzeitig die Komplexität. Man könnte sagen, dass die Gebrüder Lumière, denen auf dem Festival sehr viel Aufmerksamkeit geschenkt wird, hier nach wie vor als Erinnerung dienen und eigentlich vor allem als Manifestation für das, was das Kino zu Leisten im Stande ist. Das große Drama, die Gefühle, sehr gerne, aber dieses Zeugnis über die Welt (das dann im Fall des türkischen Filmarchivs nur per Zufall mit dem Verweis “useless“ auf der Filmrolle überlebt) ist ein Hauptbestandteil einer Kinogeschichte, ohne die wir die Weltgeschichte deutlich weniger verstehen können. Wenn man sich die zeitgenössische Bilderflut ansieht, dann kann das Kino gar nicht mehr diese Rolle spielen. Heute sind badende Pferde, die eben auch in Baignade de chevaux, gedreht von Lumière-Kameramann Gabriel Veyre, vorkommen eine Sache der Sozialen Medien. Der Unterschied liegt leider in der flüchtigen Bedeutungslosigkeit dieser Bilder heute und der schweren Bedeutsamkeit dieser Bilder damals. Was wir brauchen würden, wäre ein sondierendes Archiv für die Bilderflut unserer Zeit. Damit nicht alles verloren geht. Aber die Bedeutung liegt auch in der Art und Weise, in der diese Bilder hergestellt werden.

João César Monteiro filmt.

Rainer dazu mit passenden Gedanken zur Lumière-Ausstellung:

Bevor der Lagerkoller in unserem viel zu kleinen Appartement zuschlägt, und wir uns alle gegenseitig nachts mit Klappspaten erschlagen, müssen wir noch einige Worte über die Lumière-Ausstellung verlieren, die parallel zum Festival in einer angenehm kühlen Kellerpassage in der Nähe des Piazza Maggiore zu sehen ist. Zum einen ist bemerkenswert, wie hier auf begrenztem Raum für eine temporäre Ausstellung sehr viel besser mit Ausstellungsstücken des Pre-Cinema umgegangen wird, zum anderen welche Poesie an Stellen entwickelt wird, wo man sie nicht erwarten würde. So werden auf Filme der Lumières aus unterschiedlichsten Orten der Welt Seite an Seite mit aktuellen Webcambildern der gleichen Orte. In diesem Kontrast wird deutlich wie wertvoll diese Aufnahmen der Brüder und ihrer Kameramänner als Dokumente aus einer Zeit sind, als die Welt noch nicht mit Bildern gesättigt war. Auffällig auch das heutige Städtebilder meist aus erhöhter Perspektive aufgenommen werden. Die Kameraposition hat sich der größeren Geschwindigkeit des Alltagslebens angepasst, nur mit diesem Abstand wird noch das wenige Leben fassbar, dass bei den Filmen der Lumières immer zum Greifen nahe erscheint und frivol auf der Leinwand tanzt (Autoabgase und Stahl tanzen nicht).

Ein auf die Wand gedrucktes Zitat von Maurice Pialat fasst die Qualitäten der Lumières sehr treffend zusammen: diese Filme haben bereits alles, was wir vom Kino erwarten und präsentieren es mit einer Einfachheit, die heute oft verloren gegangen ist. Freilich kann man diese Einfachheit leicht mit Primitivität verwechseln, aber es wäre ein Fehler die Brüchigkeit dieser Filme, ihre fehlende Geschlossenheit als Mängel zu bekritteln. Es sind gerade Filme wie Repas d’Indiens, die scheinbar scheitern, in denen das Kino der Lumières ihre größte Macht ausstrahlt. Da sitzt eine Gruppe von Indios im Halbkreis vor der Kamera, die Sombreros tief ins Gesicht gezogen und dahinter beginnt ein weißer Mann in schwarzem Anzug zunächst verhalten, schließlich wild, zu gestikulieren. Er möchte die Männer dazu bringen aufzublicken – in die Kamera –, ihnen die Hutkrempen aus dem Gesicht schieben. Ich stelle mir die Frage, warum diese Szene nicht einfach wiederholt wurde, oder warum sie überhaupt entwickelt und gezeigt wurde. Die Antwort damals wird nicht so anders gewesen sein als heute: erst das Eingreifen des Manns macht diesen Film interessant, erzählt in seinem Scheitern eine Geschichte, die von weit größerem Interesse ist, als die sozialanthropologische Dokumentation eines Abendessen einer Indio-Familie.

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  75. Sorry for the significant overview, yet I am extremely loving the contemporary Zune, and count on this, as properly as the suitable critiques some other people in america contain created, will guidance by yourself make your mind up if it truly is the directly preference for you.

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  82. Apple by now has Rhapsody as an app, which is a great begin, but it is at present hampered by way of the inability in the direction of retail store locally on your iPod, and incorporates a dismal 64kbps little bit value. If this variations, then it will relatively negate this convenience for the Zune, nevertheless the Ten songs for each month will nonetheless be a large moreover within just Zune Pass‘ want.

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  86. This is using a little bit far more subjective, however I substantially prefer the Zune Market. The interface is vibrant, includes extra aptitude, and some interesting functions together with ‚Mixview‘ that allow yourself suddenly perspective comparable albums, songs, or other end users very similar in the direction of what you are listening in the direction of. Clicking upon one of all those will heart upon that merchandise, and a further set of „neighbors“ will occur into opinion, allowing for on your own towards navigate about looking into via related artists, tunes, or customers. Chatting of buyers, the Zune „Social“ is in addition Good fun, allowing on your own locate others with shared choices and turning out to be good friends with them. On your own then can pay attention in direction of a playlist crafted based upon an amalgamation of what all your buddies are listening to, which is on top of that interesting. All those fearful with privacy will be relieved to notice oneself can protect against the community from seeing your particular person listening patterns if your self hence come to a decision.

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  89. Zune and iPod: Most Those people look at the Zune towards the Contact, however after watching how slender and surprisingly very low and gentle it is, I think about it toward be a fairly exceptional hybrid that brings together properties of both of those the Touch and the Nano. It can be exceptionally vibrant and magnificent OLED show is marginally lesser than the touch screen, nevertheless the participant alone feels relatively a little bit smaller sized and lighter. It weighs in excess of 2/3 as a lot, and is significantly smaller in width and peak, despite the fact that becoming accurately a hair thicker.

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  91. This is having a little bit additional subjective, nevertheless I significantly want the Zune Industry. The interface is colourful, is made up of even further flair, and some neat capabilities such as ‚Mixview‘ that enable you instantly look at very similar albums, audio, or other consumers comparable towards what you might be listening in direction of. Clicking upon one particular of those people will centre upon that product, and a further set of „neighbors“ will arrive into belief, permitting you in direction of navigate above looking into by means of equivalent artists, tunes, or end users. Conversing of end users, the Zune „Social“ is way too exceptional enjoyment, enabling your self uncover other individuals with shared preferences and becoming buddies with them. You then can hear toward a playlist created primarily based upon an amalgamation of what all your good friends are listening towards, which is too remarkable. All those worried with privacy will be relieved in direction of know yourself can stop the community versus seeing your unique listening routines if yourself as a result pick.

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  93. Zune and iPod: Highest All those look at the Zune to the Touch, still immediately after looking at how slender and shockingly lower and mild it is, I consider it in the direction of be a as a substitute distinctive hybrid that combines properties of both of those the Touch and the Nano. It truly is exceptionally colourful and magnificent OLED display screen is a bit scaled-down than the contact screen, but the player itself feels Extremely a bit smaller and lighter. It weighs regarding 2/3 as considerably, and is noticeably smaller within width and height, even though becoming accurately a hair thicker.

  94. I’ll gear this review towards 2 patterns of men and women: present Zune householders who are taking into consideration an improve, and men and women trying to come to a decision among a Zune and an iPod. (There are other gamers value looking at out there, like the Sony Walkman X, but I be expecting this delivers oneself ample information and facts toward generate an knowledgeable choice of the Zune vs avid gamers other than the iPod line as effectively.)

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  98. Involving me and my husband we have owned excess MP3 avid gamers over the years than I can rely, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so on. But, the previous couple decades I’ve solved down to a person line of players. Why? Since I was happy in the direction of investigate how well-designed and fun toward employ the underappreciated (and commonly mocked) Zunes are.

  99. I am going to tools this examine towards Two types of us citizens: current Zune house owners who are looking at an improve, and people in america making an attempt towards decide amongst a Zune and an iPod. (There are other players worth looking at out there, together with the Sony Walkman X, but I assume this presents you enough information and facts to deliver an conscious determination of the Zune vs gamers other than the iPod line as nicely.)

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  107. Fingers down, Apple’s application shop wins via a mile. It is a large amount of all kinds of apps vs a really disappointed variety of a handful for Zune. Microsoft is made up of Ideas, especially within just the realm of video games, yet I am not yes I’d need to have towards wager upon the upcoming if this characteristic is significant towards yourself. The iPod is a a great deal better alternative in that circumstance.

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  109. The Zune concentrates upon staying a Transportable Media Player. Not a world-wide-web browser. Not a activity machine. Perhaps inside of the long run it will do even far better in these areas, nevertheless for at present it’s a Good way in direction of organize and pay attention towards your audio and videos, and is without the need of peer inside that respect. The iPod’s strengths are its world wide web visiting and apps. If these solid extra persuasive, potentially it is your easiest option.

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