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Friday, May 07, 2021

Come and See (1985)




Come and See (Russian: Иди и смотри, Idi i smotri; Belarusian: Ідзі і глядзі, Idzi i hliadzi) is a 1985 Soviet anti-war film directed by Elem Klimov and starring Aleksei Kravchenko and Olga Mironova. Its screenplay, written by Klimov and Ales Adamovich, is based on the 1978 book I Am from the Fiery Village (original title: Я из огненной деревни, Ya iz ognennoj derevni, 1977), of which Adamovich was a co-author.Klimov had to fight eight years of censorship from the Soviet authorities before he could be allowed to produce the film in its entirety. 

 The film's plot focuses on the Nazi German occupation of Belarus, and the events as witnessed by a young Belarusian partisan teenager named Flyora, who—against his mother's wishes—joins the Belarusian resistance movement, and thereafter depicts the Nazi atrocities and human suffering inflicted upon the Eastern European villages' populace. The film mixes hyper-realism with an underlying surrealism, and philosophical existentialism with poetical, psychological, political and apocalyptic themes.

Wednesday, May 05, 2021

Les chemins de Katmandou/The Pleasure Pit (1969)

 


Adapted from the novel by René Barjavel of the same name, Le Chemins De Katmandu or The Pleasure Pit (1969) tells the story of a man who joins a group of hippies who live and travel in Nepal, where they take drugs and practice free love in the belief that it will free them from materialism, only to meet disappointment. The Pleasure Pit (French: Les Chemins de Katmandou, Italian: Katmandu, also known as Dirty Dolls in Kathmandu, The Road to Katmandu and Ways of Katmandu) is a 1969 French-Italian crime-drama film written and directed by André Cayatte.

Oliver is a rebellious socially-conscious young man and activist who despises overt materialism, but dates a model. He tries to convince her to leave her materialistic and exploitative profession, but he can barely support himself, let alone her as well. That's when he decides to leave Paris where he lives with his mother to find his deadbeat dad who moved to Nepal some time ago and made good business as a professional hunter. Oliver wants to try to convince him to help him with his financial situation. Almost broke, Oliver manipulates his friend who works on a relief program in India to get the money to travel to Nepal. Once there, he's picked up by a band of hippies from Europe. One of them is Jane, a beautiful young carefree girl who practices free love. He falls for her immediately, but moves on, since he's not that anti-materialistic. When he finally finds his dad, he discovers that his father is in fact almost broke and working for a sleazy businessman who deals with stolen artifacts. Oliver is forced to steal artifacts for him as well to support himself. On one mission he meets Jane again, now a total drug addict. His new mission becomes to save her, but she doesn't want to be saved. Meanwhile, his dad is openly having an affair with the sleazy businessman's wife which complicates things even more for Oliver and everyone involved.

It stars Renaud Verley (Olivier), Jane Birkin (Jane), Elsa Martinelli (Martine), Serge Gainsbourg (Ted) and Pascale Audret (Yvonne). Large portions of the film were shot in the Katmandu Valley. Serge Gainsbourg did the music to it. This is a psychedelic trash masterpiece. 



Directed by: André Cayatte
Written by: René Barjavel, André Cayatte
Starring: Renaud Verley, Jane Birkin, Elsa Martinelli
Music by: Serge Gainsbourg
Cinematography: Andréas Winding
Release date: 1969
Language: French

Saturday, May 01, 2021

Life With Nomads (Kate Humble Documentary Series)

 

The first in a series of three documentaries (all featured here) where British journalist Kate Humble lives with different nomadic groups still practicing their traditional life. In this first episode Kate lives with the Mongolian nomads from the secluded Hugh land steppe, where she will learn about the challenges faced by these ancient nomadic tribes.

Kate Humble and a camera crew enter the rugged and nomadic life of the Nepalese Raute people, roaming the altitudes of Nepal's mountains. They are not immediately welcomed into the tribe but as Kate proves helpful in moving the camp and as a contributing part of the workforce, she is able to get closer to the tribe - and by that closer to an understanding of the Raute people's way of life, including the challenges and possible new lessons for Kate to learn.

In Afghanistan, Kate Humble meets traditional shepherds in the remote Wakhan Corridor.

A nomad (late 16th century: from French nomade, via Latin from Greek nomas, nomad- ‘roaming in search of pasture’, from the base of nemein ‘to pasture’) is a member of a community without fixed habitation which regularly moves to and from the same areas. Such groups include hunter-gatherers, pastoral nomads (owning livestock), and tinkers or trader nomads. In the twentieth century, population of nomadic pastoral tribes slowly decreased, reaching to an estimated 30–40 million nomads in the world as of 1995.

Nomadic hunting and gathering—following seasonally available wild plants and game—is by far the oldest human subsistence method. Pastoralists raise herds, driving or accompanying in patterns that normally avoid depleting pastures beyond their ability to recover.

Nomadism is also a lifestyle adapted to infertile regions such as steppe, tundra, or ice and sand, where mobility is the most efficient strategy for exploiting scarce resources. For example, many groups living in the tundra are reindeer herders and are semi-extra nomadic, following forage for their animals.

Sometimes also described as "nomadic" are the various itinerant populations who move among densely populated areas to offer specialized services (crafts or trades) to their residents—external consultants, for example. These groups are known as "peripatetic nomads".

Tuesday, April 27, 2021

The Occult Experience (1985)


The Occult Experience is a 95 minute documentary on the international occult scene, filmed in 1984-85 and screened initially by Channel 10, Sydney, in 1985. This digitised copy was made from a high quality VHS recorded directly from the original film print. It was filmed in Australia, England, Switzerland, Ireland and the United States. The director was Frank Heimans. Nevill's role was co-producer, researcher and interviewer. The Occult Experience won a Bronze Award at the 1985 International Film and Television Festival of New York and was released in the USA on Sony Home Video (second hand copies on Amazon). The documentary did not screen on television in either the UK or USA unfortunately, so uploading a really good copy will interest a lot of people in those countries especially. 

 Producer, director, Richard Corfield ; 
series producer, Ken Dyer ; 
editor, John Pleffer ; 
photography, Laurence McManus, Chris Davis ; 
sound, Peter Steege, Colin Jones 

Also a book by Nevill Drury, Ken Dyer, Australian Broadcasting Corporation Publisher - Hale & Iremonger in association with the Australian Broadcasting Corp., 1983 ISBN 0868061069, 9780868061061

Monday, April 26, 2021

Gnosis - The Lost Gospels


Documentary presented by Anglican priest Pete Owen Jones which explores the huge number of ancient Christian texts that didn't make it into the New Testament. Shocking and challenging, these were works in which Jesus didn't die, took revenge on his enemies and kissed Mary Magdalene on the mouth - a Jesus unrecognisable from that found in the traditional books of the New Testament.

Pete travels through Egypt and the former Roman Empire looking at the emerging evidence of a Christian world that's very different to the one we know, and discovers that aside from the gospels of Mark, Matthew, Luke and John, there were over seventy gospels, acts, letters and apocalypses, all circulating in the early Church. Through these lost Gospels, Pete reconstructs the intense intellectual and political struggles for orthodoxy that was fought in the early centuries of Christianity, a battle involving different Christian sects, each convinced that their gospels were true and sacred.

The worldwide success of Dan Brown's The Da Vinci Code sparked new interest, as well as wild and misguided speculation about the origins of the Christian faith. Owen Jones sets out the context in which heretical texts like the Gospel of Mary emerged. He also strikes a cautionary note - if these lost gospels had been allowed to flourish, Christianity may well have faced an uncertain future, or perhaps not survived at all.

The documentary, although a great feat of scholarship falls short of exploring some other important manuscripts such as the Gospel of Judas and the Gospel of Barnabas. It also fails to explore the evidences in the gospels of the other possibility of Christ's nature: that he was entirely human.

The interpretive and rhetorical elements of this program build in intensity. It chooses its issues carefully. It only mentions once the political and state related issues that were being played out as a backdrop to the early history of the Christian Church (You guessed it, Constantine and his efforts to unite the Empire). In short, building a hierarchical state or imperial apparatus on the mystical elements that defined so much of the Gnostic branch of Christianity would have been impossible. But Pete mostly limits his examination to the textual and then leaves out the most heretical ones, and only uses those he does discuss to clarify orthodox Christian belief today. For example the neglected "The Thunder : Perfect Mind" begins 


I was sent forth from the power,
and I have come to those who reflect upon me,
and I have been found among those who seek after me.
Look upon me, you who reflect upon me,
and you hearers, hear me.
You who are waiting for me, take me to yourselves.
And do not banish me from your sight.
And do not make your voice hate me, nor your hearing.
Do not be ignorant of me anywhere or any time. Be on your guard!
Do not be ignorant of me.
For I am the first and the last.
I am the honoured one and the scorned one.
I am the whore and the holy one.
I am the wife and the virgin.
I am <the mother> and the daughter.
I am the members of my mother.
I am the barren one
and many are her sons.
I am she whose wedding is great,
and I have not taken a husband.
I am the midwife and she who does not bear.
I am the solace of my labor pains.
I am the bride and the bridegroom,
and it is my husband who begot me.
I am the mother of my father
and the sister of my husband
and he is my offspring.
I am the slave of him who prepared me.
I am the ruler of my offspring.
But he is the one who begot me before the time on a birthday.
And he is my offspring in (due) time,
and my power is from him.
I am the staff of his power in his youth,
and he is the rod of my old age.
And whatever he wills happens to me.
I am the silence that is incomprehensible
and the idea whose remembrance is frequent.
I am the voice whose sound is manifold
and the word whose appearance is multiple.
I am the utterance of my name.

How can this intense introspection, almost meditative and Zen-like, be reconciled with the sort of Christianity we have today, where the Pope wrote so recently as the 2013 encyclical, Lumen fidei against “a model of salvation that is merely interior, closed off in its own subjectivism. In this model, salvation consists in elevating oneself by knowledge beyond “the crude faith of the masses” and “the flesh of Jesus” towards “the mysteries of the unknown divinity” (n. 47). The Church of Peter is still very much in control of doctrine. The idea of a lessened Christianity if the doctrine had not followed the path it had, as this video argues (see 1:19:16), is not particularly relevant to understanding the Gnostic texts. I would like to see more examination of the connections to Platonic and eastern thought.....maybe next time. 

Thursday, April 22, 2021

Can - Free concert (Sporthalle Cologne 1972)


The resultant show was an odd mix of uncompromising music-for-music’s-sake and a well-nigh circus-esque determination to entertain. Right off the bat Can breaks into the hit, “Spoon,” and proves they’re not fucking around by expanding it from its tidy three-minute length on record into a full-blown 18-minute jam. The concert starts out with a juggler named Fred Ray joining Can on the stage; at the end of the show, during “Full Moon on the Highway,” Ray returns and does a bunch of impressive things with three brightly colored umbrellas.

After “Bring Me Coffee or Tea” about halfway through, a troupe of acrobats called Oberforstbach comes out and does their thing while Paul Joho plays the saw. (I know, right?) And of course Damo himself was not exactly boring to watch in his own right.

Saturday, April 17, 2021

Battle of the Somme (WW1 Documentary)

 


A stunning drama documentary that uses letters and diaries of those that participated.

The Somme-A Lost Generation

Think of your Mam and bite your lip
Be strong lad, Go thee well
And make your peace with Jesus
As they send you into Hell

“We are your ghosts, in this game played by monkeys, organised by lunatics”


The British Lost an Entire Generation During This One World War I Battle

Early in the morning of July 1, 1916, a mist blanketed the lolling hills of the Somme region of northwestern France. Larks flittered and sang in the air as the haze burned off to reveal a brilliant summer’s day. On the British side of the front lines, crimson poppies and yellow grass swayed in a slight breeze. Across the wire, however, the earth heaved and shook as artillery shells slammed into the German trenches. The barrage rose to a shrieking fury as British troops, gathered in their jumping-off trenches, pressed into the chalky earth awaiting the shrill whistles of their officers telling them to go over the top.

At 7:30, the devastating barrage lifted as British officers, eyes on their watches, blew their whistles and the men crawled up ladders, walking shoulder to shoulder into No Man’s Land. After a few yards, undamaged German machine guns opened up, catching the neat rows of slowly moving troops by surprise as they attempted to weave through the barbed wire emplacements, cutting them down in droves. “I am staring at a sunlit picture of Hell,” observed 2nd Lt. Siegfried Sassoon as he watched the attack unfold. Within a few hours 60,000 men had fallen, 20,000 never to rise again, in the worst single day of action in British military history. [To put this in some perspective, the Allies on D-Day 1944 attacked with 170,000 airborne and infantry, suffering 10,000 casualties, of which 4,000 were deaths; on America’s bloodiest battle day, the Battle of Antietam, 4,700 soldiers died.] 

Wednesday, March 31, 2021

John C. Lilly: Interview with Dr. Jeffrey Mishlove (1998) • We are the INTERMORPHS

Thinking Allowed Also emerging from the discursive cradle of the counterculture, John C. Lilly worked as a neuroscientist, focusing on interspecies communication, specifically dolphins, before expanding his intellectual scope to become a consciousness researcher. Much of his work on human-nonhuman communication would serve as the basis for his self-experiments over the course of the ’70s with a systematic mapping of states of consciousness.

Through a series of books—part documentation, part mysticism, part autobiography—Lilly would attempt to chart psychic topographies within “quantitative systems of mind-consciousness.” His methods were notorious, involving extreme dosages of psychoactive substances such as LSD, DMT, PCP, and ketamine, as well as his development of the sensory isolation tank. In fact, Lilly’s lab experiments were one of the inspirations for the 1980 science fiction horror film Altered States. Picking up on the argument proposed in the previous video, Lilly’s conclusions are decidedly cosmo-informatic: the human mind is a “biocomputer” which can, through meditative techniques and self-experimentation, be reprogrammed to its optimal operational capacity.

In many ways Lilly exhibits the merging of the “scientific” (objective) with the “mystical” (subjective) within the noopolitical turn, as the modern glorification of “scientific truth” finds itself reappropriated within the capitalist imagination as pseudo-scientific speculation. Of note in this interview is Lilly’s belief in ECCO—the Earth Coincidence Control Office—an extraterrestrial cosmic agency, “one of God’s field offices,” responsible for programming long-term coincidences (that is, history) on planet earth.

Arquilla and Ronfeldt (1999) developed the term Noopolitik as a political strategy focusing on the use, and denial thereof, of information. The term, reminiscent to Realpolitik, was informed to establish a policy, that of “Being in Athena’s camp”, in the sense that the practitioner of Noopolitik should belong to the side that handles, correlates and uses the maximal amount of information in a rather decentralised fashion. The emergence of Intellipedia, the crowdsourced intelligence database, is a textbook example of Noopolitik. What this conception of Noopolitik did not, however, is codify a more general geopolitics of knowledge, in which power would not be subserving knowledge, but rather knowledge subserving power. The development of such a paradigm is the purpose of this article. It is especially important to focus on knowledge since early Noopolitik almost only focused on information, which is of a lesser quality than knowledge. Knowledge is intrinsically less perishable than information, for example, and wisdom, which is self-knowledge, is not information. Besides, well-informed is not synonymous with sage; a state or an individual can be erudite but foolish, and to this early Noopolitik offers no particular cure.

Though Lilly always couches his ideas in the idiosyncratic language of his personal explorations, his conceptualization of ECCO has much in common with simulation theory in physics, as well as with arguments from critical theory, such as Jean Baudrillard’s notion of simulacra and the Real. Indeed, Lilly’s intentions are to stimulate transformative modes of embodiment, and yet when approaching his work from a contemporary perspective in which notions of self-realization and substance-consumption are standardized and commodified, a decidedly neoliberal, micropolitical agenda is revealed: molecular technologies of mind, materialized as chemical supplementation, can permanently reprogram consciousness, whilst the body finds itself increasingly pushed to its limits of disembodiment, in which information flows reassemble the traces of the flesh—its affects, its soul—into virtual data.

John was 83 when this interview happened. He died 3 years after in 2001. He took his body and mind to the absolute limits of spatiotemporal awareness countless times during his long life. It is therefore not surprising that he mumbles a bit in this interview. A full transcript of it is available here. 

Monday, March 29, 2021

Ilsa, She Wolf of the SS (1975)

Ilsa She Wolf Of The SS from MotuRoais on Vimeo.

Ilsa, She Wolf of the SS is a 1975 Canadian exploitation film about a sadistic and sexually-voracious Nazi prison camp commandant. The film is directed by American filmmaker Don Edmonds and produced by David F. Friedman for Cinépix Film Properties in Montreal. The film stars Dyanne Thorne in the titular role, who is loosely based on Ilse Koch, the wife of a real-life commandant at the Buchenwald concentration camp. Upon its release in early 1975, the film was immediately met with widespread controversy and critical derision, with Gene Siskel calling it "the most degenerate picture I have seen to play downtown". Particular criticism was directed at the film's graphic violence; which includes depictions of castration, flogging, human experimentation, and many other forms of torture. Word-of-mouth quickly spread, and the film was a considerable financial success, becoming a staple of grindhouse and drive-in theatres. The popularity of the film led to the creation of three sequels, each of which saw Thorne reprise her role. The film's infamy eventually evolved into a considerable cult following, with the character of Ilsa becoming a pop cultural icon ubiquitous with “strong, aggressive” female authority. The film is considered one of the prominent entries of the Nazisploitation sub-genre, and to a lesser degree the sexploitation sub-genre.

Sunday, March 21, 2021

Liquid Sky (1982)


Liquid Sky is not for the sensitive. 

“I kill with my cunt.” So says Margaret, a gender fluid Connecticut-bred WASP-turned New York fashion model caught in an unusual dilemma. Her predicament: aliens from outer space, who have come to Earth in search of poaching the pleasure effects of a heroin high, have perched on the roof of her grittily appointed penthouse. As it turns out, pheromones released via human orgasm are more potent. Margaret’s new neighbors are killing every sexual partner she takes. Anne Carlisle, a School of Visual Arts student and model who was hanging out at places like the Mudd Club, co-wrote the film and stars as Margaret—and, in a dual role twist, an androgynous junkie male model named Jimmy. 

Set against a psychedelic, orange-soaked cityscape, where the Empire State Building appears as a foreboding monolith, and with a cast of high-camp, dramatically attired downtown club kids, Liquid Sky is one of those rare, much-talked-about cult films that has become a treasured artifact of a certain time in New York, exhibited in late-night theatrical showings, passed around VHS tapes, and poorly done YouTube rips. Its premise is so seemingly random—and preposterous—that it works, dealing with the romantic mythology of doomed, ascending beauties, their vices, and their art. It’s something that could only happen in New York.
                                     A brief history of neon-soaked cult film Liquid Sky By Colleen Kelsey