Wie tot ist der spirituelle Filmemacher?

Pedro Costa vor einer Gruppe japanischer Filmstudenten:

“To digress briefly, because this is a very nice little story: there was an old professor of film giving a course on direction, and he showed Dreyer’s film The Word (1954) to his students. At one moment, a few of the students laughed during the film, and after the end of the film, the professor said to them: ‘Look, if you start laughing when you hear the word ‚God,‘ you’re never going to make a film.’”
Die bloße Vorstellung, dass man bei einem Screening von Carl Theodor Dreyers “Ordet” über und nicht mit dem Film lacht (es gibt nämlich einige schwarzhumorige und komische Augenblicke), macht mir Angst.

„Ordet“ ist ein Film, der von mehr als einem kirchlichen Glauben erzählt. Es geht um einen naiven Glauben, einen kindlichen Glauben, an das Wesen menschlichen Glaubens überhaupt und dieser muss nicht zwangsläufig etwas mit der Kirche oder einem Gott zu tun haben. Der Glaube ist hier auch so etwas wie Hoffnung, wie Wünsche oder Liebe. Mit einem Lachen über einen solchen Film wird Ernsthaftigkeit erneut unter einer abgeklärten Welle des Zynismus begraben. Das Spirituelle soll in diesem Artikel nicht auf seine kirchliche, sondern tatsächlich in seiner geistig/geistlichen Bedeutung betrachtet werden.

Ordet

Ordet

Costa weiter:

“I tell this story because filmmaking is a very real and serious profession. Serious means heavy, and sometimes the weight of things can be very heavy. The weight of feelings is something to handle with balance and common sense, and so we must never laugh when somebody speaks about God or the Devil. In effect, when we speak of God or the Devil in cinema, we’re speaking about good and evil, we’re talking about people. We’re speaking about ourselves, about the Devil and the God in us, because there’s no God up on high, and no Devil below.”

It’s correct because all the things in front of you, all the themes that you can try to film in your lives as directors, these are always very serious things, even the comedies or the gags that Chaplin filmed. These are always very serious things which, at bottom, are related to good and evil.”

Aber die von Costa geschilderte Reaktion beschreibt ein Zeitalter, indem Kino etwas verloren hat, das es früher noch aus der Gesellschaft ziehen konnte: Glaube. Das ist an sich kein Problem, wahrscheinlich ist es auch gut so, aber mit dem Glauben gehen auch Eigenschaften verloren, die dem Kino und womöglich der ganzen Kunst eine Berechtigung zur Erhabenheit geben, der sakrale, spirituelle Impetus, der einem bei Dreyer und auch bei Andrei Tarkowski, Ingmar Bergman oder Robert Bresson begegnet. Mit ihm der eisige, surreale Wind im Tondesign, den Federico Fellini immerzu über seine Traumsequenzen wirft, die sich damit völlig aus der Realität erheben. Mit ihm die Bereitschaft kontemplatives Kino nicht als Provokation, sondern als Schönheit wahrzunehmen. Mit ihm auch der Schock des Mystischen, Surrealen oder Unverständlichen. Ist heute etwas unverständlich, dann liegt das an Schwächen beziehungsweise durchschauten Intentionen des Filmemachers, nicht mehr am Wesen des Films selbst.

Uncle Boonmee who can recall his past lives

Uncle Boonmee who can recall his past lives

Nicht unbedingt die theologische Motivik ist in den Filmen verloren gegangen, sondern der moralische Konflikt und seine Bedeutung im Betrachter. Vor knapp einem Jahr wurde ein Artikel von Vladimir Lukin veröffentlicht, indem er einige Beispiele für Filme nennt, die mit derartigen Motiven arbeiten. Er verneint aber deren Spiritualität zugunsten von Albert Serra, einem Filmemacher, der so sehr von Zynismus durchdrungen ist, dass es mir schwer fällt von einem spirituellen Filmemacher zu sprechen:

“Carlos Reygadas’s Silent Light and Bruno Dumont’s Hadewijch or Hors Satan pop into one’s mind immediately. That being said, Reygadas merely retraced Dreyer’s footsteps as he fashioned a sort of remake of Ordet to reiterate—re-frame at best—its central question of a miracle. In their painful attempts to weld together the earthly and divine kinds of love, Dumont’s characters, in essence, grapple with the forced cohabitation of body and soul, i.e., arguably the key theme to have disturbed the Western civilization. Notwithstanding a string of other major cinematic works invoking God’s presence, from Lars von Trier’s Breaking the Waves to Terrence Malick’s The Tree of Life, all of the above seem to be, first and foremost, preoccupied with the crisis of faith, the notorious “death of God”; all of them fall short by dealing with humans and human concerns.”

Stellet Licht2

Stellet Licht

Was Lukin hierbei nicht beachtet (obwohl er seinen Artikel in eine andere Richtung fährt, ich benutze ihn mal schamlos als Sprungbrett für eigene Gedanken), ist dass spirituelles, sakrales, glaubendes Filmemachen in erster Linie nicht auf inhaltlicher Ebene von einer Überzeugung vom Glauben erzählt, sondern von einem Glauben an Kunst als ihren Ersatz. Damit meine ich, dass im Film (sowie in der Literatur, der Musik, der Malerei usw.) immer die Konflikte ausgetragen werden, die auch Fragen des Glaubens sind. In Costas Worten ist das beispielsweise die Frage nach Gut und Böse. Es ist eben auch der innere Zweifel, die Frage der Schönheit, der Kampf zwischen Vernunft und Irrationalität/Trieben. Das wird auch überall akzeptiert, aber gefährlich wird es, wenn sich ein Film bewusst ist von was er erzählt. Große Themen-und es geht mir ja schon beim Lesen meiner eigenen Zeilen so-fühlen sich heute unpassend an. Dabei sind diese Fragen ja nicht beantwortet. Sowohl bei Reygadas als auch bei Dreyer schocken uns die Wunder am Ende. Sowas kann es nicht geben, sowas kann es nur im Film geben. Das mag sein, aber liegt nicht schon in dieser Feststellung der Zweifel am Film selbst? Auch dieser Zweifel erscheint mir berechtigt, denn natürlich ist Film immer genauso viel Lüge wie Wahrheit. Aber die Wahrheit ist eben eine Spirituelle, eine Sinnliche, eine Emotionale.

Vielleicht muss man Film weiterdenken, vielleicht ist Film nicht an diese Werte gebunden, ja vielleicht ist es sehr gut, dass das Spirituelle mehr und mehr aus den Kinos verschwindet, hier und da mit Kitsch verwechselt wird und so zumindest bei Stumpfsinnigen (nicht im übertragenen, sondern im tatsächlichen Sinn) noch weiterlebt. Aber wenn wir uns ansehen, was Filmemacher aus Asien noch immer mit dem Spirituellen im Film anfangen, dann muss einem klar werden, dass es zum Wesen des Kinos gehört zu glauben. Das hängt damit zusammen, dass die Bilder, die sich vor uns abspielen immer Zeugnisse der Vergangenheit sind. Wir sind uns ihrer Konstruktion und unserer Imagination bewusst, also müssen wir glauben, um fühlen zu können, um es ernst zu nehmen, um den Bildern und Tönen folgen zu können. Die lebenden Toten bei Apichatpong Weerasethakul, die Geister des Alltags, die mal da sind und mal nicht heben den Raum und die Zeit seiner Filme in die Unendlichkeit. Ähnliches gilt für Tsai Ming-Liang. Da es sich hierbei um äußerst moderne Filmemacher handelt, kann man schlecht von einer Sache der Vergangenheit sprechen. Vielmehr scheint es, eine Sache der Kultur zu sein. Aber warum kann ich dann etwas damit anfangen? Kennt Kino eine Kultur?

Ordet

Ordet

Das Spirituelle im Film hängt nicht nur bei Malicks esoterischen Ergüssen immer an der Natur. Es ist bezeichnend, dass sowohl „Ordet“ von Dreyer als auch „Uncle Boonmee Who Can Recall His Past Lives“ von Weerasethakul“ und „Sátántangó“ von Béla Tarr, drei Filme, die unseren Glauben, Aberglauben und damit auch unsere Ängste und Träume erschüttern und beleben, mit Einstellungen von Tieren beginnen. Eine unheimliche Ruhe geht von diesen Bildern aus. Ein Bewusstsein von der Größe der Welt und der Bedeutung und Bedeutungslosigkeit einer Existenz. Davon läuft man weg, wenn man sich immerzu der Länge dieser Einstellungen bewusst ist, wenn man versucht sie während des Sehens, mit seiner Weltsicht in Einklang zu bringen. Hier liegt nämlich ein Problem: Weltsicht.

Ich bemerke selbst bei meinen Erfahrungen mit Terrence Malick. Ich stoße an meine Grenzen. Es ist nicht leicht, an spirituelles Filmemachen zu glauben, wenn man der Weltsicht des Regisseurs nicht folgen kann. Nur scheint es mir paradox, dass wir dann auch der Schönheit des Kinos selbst nicht mehr folgen wollen. Natürlich ist Kino immer ein Produkt seiner Zeit, aber-auch wenn viele Unverbesserliche nicht daran glauben-Kino ist auch ein individuelles Produkt. Die fehlende Akzeptanz der Autorentheorie ist es nämlich, die hinter dem drohenden Verschwinden des spirituellen Filmemachers stehen könnte. Da gibt es einen Großteil an Menschen, die sich schlicht nicht für sowas wie Autoren interessiert, weil sie sich mehr für Gesichter interessiert. Dann gibt es jene unfassbar schlauen Menschen, die penetrant darauf hinweisen, dass ein Film immer im Team entsteht. Danke für diesen Hinweis, dass gilt erstens nicht für jede Form des filmischen Ausdrucks und zweitens hat es nichts, aber auch gar nichts mit der Autorentheorie zu tun beziehungsweise ist davon auszugehen, dass sich jeder erfolgreiche Auteur der Tatsache bewusst ist, dass sie/er einen Film nicht alleine dreht. Und schließlich gibt es die große Menge der subjektiven Filmbeherrscher (zu der wahrscheinlich jeder mehr oder weniger gehört), die einen Film durch ihre subjektive Reaktion, durch ihr Wissen und ihre Nachforschungen einordnen, klassifizieren und somit entmystifizieren. Damit stirbt der individuelle Ausdruck, der sich gegen die Norm, gegen die Akzeptanz und auch gegen das Wertesystem stellen kann. Der individuelle Ausdruck ist nicht wirklich erwünscht, es sei denn er hat Gesichter oder er trifft auf die eigene Subjektivität. Dabei wäre es so einfach, an das Kino zu glauben. Damit stirbt auch das Mysteriöse. Alles wird eingeordnet und erläutert, es gibt keine Geheimnisse mehr, keine (wie das ein Freund vor kurzem schön formulierte) Zaubermäntel, die sich Regisseure umhängen.

Yella

Yella

Unter den wenigen deutschen Filmen jüngeren Datums, die das Mysteriöse noch umarmen, waren Christian Petzolds „Yella“, „Gespenster“ und eigentlich mehr „Jerichow“ denn „Die innere Sicherheit“, der eigentlich zur Gespenster-Trilogie gerechnet wird. Dort wird die politische Vergangenheit/Gegenwart plötzlich spirituell. Petzold zeigt, dass das Spirituelle auch immer eine Frage der Form ist. Steadycam-Fahrten, Tiefenschärfe oder eine minimale Deformation im Tondesign erheben seine Filme und lassen die scheinbare Realität langsam versinken. Nach außen hin regiert in den Filmen Vernunft. Aber in ihrer inneren Logik, beginnt sich das Festhalten an der Nüchternheit, am Zynismus aufzulösen. Damit gelingt es Petzold, auch die Zyniker mit in sein Boot zu nehmen. Denn er lädt sie ein, er sagt: Schaut her, hier ist alles wie es sein sollte! Und ehe man es bemerkt hat, beginnt man zu glauben.

Yella2

Yella

Wer ein wenig nur an das Kino glaubt, wird erstaunt werden von „Ordet“. Er wird den Film in jeder Sekunde erst nehmen müssen. Sollte das nicht mehr gelingen, wäre der spirituelle Filmemacher wirklich gestorben. Aber noch vermag er bei jedem neuem Sehen zum Leben erweckt werden.

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  61. The Zune concentrates on becoming a Transportable Media Player. Not a web browser. Not a game machine. Probably in just the future it’s going to do even superior in these areas, but for already it really is a excellent route in direction of organize and hear in direction of your tunes and flicks, and is without having peer within just that regard. The iPod’s positive aspects are its website viewing and purposes. If these solid far more persuasive, maybe it is your ideal option.

  62. Thanks for your posting. I also believe that laptop computers are getting to be more and more popular these days, and now will often be the only form of computer utilised in a household. This is due to the fact that at the same time that they are becoming more and more cost-effective, their computing power keeps growing to the point where they can be as robust as desktop through just a few years ago.

  63. Thanks for your helpful article. One other problem is that mesothelioma cancer is generally brought on by the breathing of fibers from asbestos, which is a very toxic material. It truly is commonly seen among workers in the construction industry who’ve long exposure to asbestos. It’s also caused by moving into asbestos insulated buildings for years of time, Genetics plays a crucial role, and some folks are more vulnerable to the risk as compared with others.

  64. Zune and iPod: Highest These evaluate the Zune towards the Touch, still immediately after looking at how slim and shockingly minor and light it is, I take into account it toward be a rather distinctive hybrid that brings together qualities of both equally the Touch and the Nano. It can be rather colorful and attractive OLED show is slightly more compact than the touch screen, yet the participant by itself feels reasonably a little bit more compact and lighter. It weighs over 2/3 as a great deal, and is considerably more compact within width and peak, even though being simply a hair thicker.

  65. This is getting to be a little bit even more subjective, however I much desire the Zune Market place. The interface is vibrant, consists of added aptitude, and some great functions which includes ‚Mixview‘ that permit oneself quickly view comparable albums, tunes, or other people similar towards what you’re listening in the direction of. Clicking upon a person of those people will center on that product, and yet another mounted of „neighbors“ will occur into opinion, making it possible for you in the direction of navigate in excess of exploring by identical artists, music, or people. Talking of consumers, the Zune „Social“ is way too very good fun, letting your self track down other folks with shared preferences and getting mates with them. On your own then can pay attention to a playlist developed dependent upon an amalgamation of what all your buddies are listening in the direction of, which is in addition fascinating. People worried with privateness will be relieved in the direction of comprehend yourself can prevent the general public against seeing your specific listening habits if you thus take.

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