『The Cinema of Víctor Erice: An Open Window Revised Edition』 Edited by Linda C. Ehrlich

「In the nineteenth century, writers and travelers dreamt about other realities. They got on a boat, left their homelands, and went to the opposite ends of the earth, searching perhaps for the dawn of civilization, the beginings of humanity, because in preindustrial and industrial societies they thought those values would disappear. Back then there were still places to escape to. Today perhaps there's no greater adventure left than solitude.」
(Victor Erice)


The Cinema of Víctor Erice:
An Open Window
Revised Edition
Edited by Linda C. Ehrlich


The Scarecrow Press, Inc. 2007
xvii, 357pp, plates 17pp, 21.4x13.6cm, paperback
Manufactured in the United States of America



2000年に刊行された英語版ビクトル・エリセ論集の増補改訂版ペーパーバック(2007年)です。日本からは蓮實重彦、前田英樹、宮岡秀行の三氏の文章が収録されています。
口絵(モノクロ)1点、図版(モノクロ)33点。


the cinema of victor erice 01


Contents:

Editor's Note (Linda C. Ehrlich)
Acknowledgments
The Translator's Art (Julie H. Croy and Guy H. Wood)

I. Introduction
Objects Suspended in Light (Linda C. Ehrlich)

II. Conversations
An Interview with Víctor Erice (Conducted by Linda C. Ehrlich, with the assistance of James Amelang, in Madrid, March 1998. Translated by Guy H. Wood and Julie H. Croy, with revisions by Linda C. Ehrlich and Víctor Erice)

III. Reflections on Early Cinema
Why Do You Make Films? (Víctor Erice. Translated by Linda C. Ehrlich)
Can You See Now?: A Detailed Commentary about a Sequence in *City Lights* (Víctor Erice. Translated by Julie H. Croy and Guy H. Wood)
To the Cinema, In Memoriam (Víctor Erice. Translated by Linda C. Ehrlich)

IV. Commentary on Early Writings
Excerpts from *Victor Erice* (Carmen Arocena. Translated by Guy H. Wood and Julie H. Croy)

V. The Feature Films: The Spirit of the Beehive
Screen: A Perilous Country (Vincent Canby)
The Risks of Initiation into the Spirit (Fernando Savater. Translated by Guy H. Wood and Julie H. Croy)
"I Am Ana": The Play of the Imagination in *The Spirit of Beehive* (Luis O. Arata)
The War behind the Window: Notes on *The Spirit of the Beehive* (Vicente Molina Foix. Translated by Guy H. Wood and Julie H. Croy)
About *The Spirit of the Beehive* (Alain Mitjaville. Translated by Martine Thibonnier)
Familial Discourse in *The Spirit of the Beehive*: The Parents' Estrangement (Miguel Angel Lomillos. Translated by J. Christopher Eustis)

VI. The Feature Films: *El sur*
Childhood against the Light (Alain Philippon. Translated by Charlotte Sanpere-Godard)
Thirty-Three Scholarly Questions about *El sur* (Angel Fernández-Santos. Translated by Joanna Reynolds)
A Narrative of Star-Cross's Lovers (Peter Evans and Robin Fiddian)
Living Stones, Dead Souls: The Other Side of the Map. *El sur* Novel and Film (Antonio Santos. Translated by Antonio Santos and Linda C. Ehrlich)

VII. The Feature Films: *Dream of Light (The Quince Tree Sun)*
Review: *Dream of Light* (William Johnson)
Whispers and Rapture: On Politics and Art in the Films of Erice (Paul Julian Smith)
Watching as a Painting Comes Slowly into Being (Janet Maslin)
Projected Shadow (Laurence Giavarini. Translated by Michelle LeGault)
Interior Gardens: *Dream of Light* and the *Bodegón* Tradition (Linda C. Ehrlich)
from Documenting the National and Its Subversion in a Democratic Spain (Marsha Kinder)
Excerpt from Interview with Antonio López García (Conducted by Michael Brenson)

VIII. General Essays / Other Film Projects
From *Velázquez's Mirror* to *Dream of Light*: A Conversation about Film (Hasumi Shigehiko. Translated by Ann Sherif)
The Dragon in My Life (Miyaoka Hideyuki. Translated from Japanese by the author)
Reality in Juan Marsé (Helena Rotés. English version by Helena Rotés and Philippa Moon)
Víctor Erice and "The Only Time" (Maeda Hideki. Translated by Mieko and Nathaniel Preston)
Silences: Víctor Erice's Use of Sound (Dominique Russell)
Victor Erice's Reasonable Doubts (Miguel Marías. Translated by Guy H. Wood and Julie H. Croy)
Cinema and Poetry (Víctor Erice. Translated by Guy H. Wood and Julie H. Croy)
Writing Cinema, Thinking Cinema . . . (Víctor Erice. Translated by Guy H. Wood and Julie H. Croy)

IX. Since 2000
Víctor Erice's *La Promesa de Shanghai* and *Alumbramiento*: The Promise of Words, The Promise of Time (Juan F. Egea and Linda C. Ehrlich)
Erice-Kiarostami: The Pathways of Creation (Alain Bergala)
Correspondence: News of a Process (Jordi Balló)
*La Morte Rouge: Soliloquy* (Víctor Erice. Translatead by Steve Wenz)
Epilogue: Traveling Light (Jorge Latorre)

Appendix. Reviews (Synopses of Films)
*Frankenstein in Castile* (Alberto Moravia. Translated by Denise Caterinacci)
In the World: *El sur (The South)* (John Pym)
*Dream of Light (The Quince Tree Sun)* (Phillip Strick)

Filmography
Selected Bibliography
Credits
Contributors
Index



the cinema of victor erice 02



◆本書より◆


「An Interview with Víctor Erice」より:

「L.E.: If you were to choose one, or several, images from your films as images that have a special resonance for you, which one(s) would you select?
V.E.: There's one, without a doubt, that I believe has a very evident sacred component. It's the image of Ana Torrent in the theater discovering Frankenstein. Ana stands up from her seat, drawn by her curiosity and by the emotion of the scene she is contemplating. The camera is in attendance there, and I felt somewhat uncomfortable about my presence at such an extraordinary moment of truth. That scene is a document. It has the entity of a document because it wasn't brought forth artificially. Evidently, it is one of the more intense images of the film because the little girl was living all of that in a totally truthful form. without distinguishing between reality and fiction, and the movie camera was capable of capturing it. She wasn't yet distinguishing between reality and representation. For her, it's a sacred instant. The camera is capturing it. It's an unrepeatable moment, unrepeatable.
This has nothing to do with my ability, talent, or qualities as a director. It all depended on Ana, on her innocence. I had the sensation of being there observing something that was truly a mystery. But cinema in this sense is a tough language. It's a different language than that of painting or music because it uses people who have a real significance, who are real people. When one is dealing with an actor . . . well, he or she has the technique and training to be there as a physical presence, acting. But a six-year-old child is not acting: she's living. These moments are in *The Spirit of the Beehive*, and *El sur* too. I'd say they are the moments - not the images (because there can be [artificially] beautiful images) - life's moments where one feels he or she has captured something that has a great existential intensity, something in its pure state.
Maybe that's a special quality cinema has, because I see those moments in the movies Lumière made when he filmed people walking along the street and they waved at the camera. When I see the faces of those people the camera has captured an unrepeatable instant of their lives, well, there's something emotional about seeing them today, some extraordinary quality that time has given them. Techinically the films are nothing special - the cameraman was just there with his camera - but he's captured something that, with the passing of time, has an extraordinary value.」



 




















































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