Wim Wenders and Peter Handke: Collaboration, Adaptation, Recomposition

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Giraffe, kudu, red hartebeest, black wildebeest, zebra, impala and other wildlife roam its plains and forests. But because Lapolosa is not yet a Big 5 reserve, visitors enjoy hiking and camping on the property in safety. Lapolosa is blessed with water, lots of water. It possesses many small, year-round springs, streams and waterfalls, several boreholes and extensive frontage on the Buffelskloof Dam and two rivers. A favorite hike for visitors is to one of the magnificent waterfalls just below Buffelskloof Dam, including one thirty-meters high.

Most roads are 4x4 or quad trails. Patrols are done by quad bike. At the end of the Anglo-Boer War the Boer Commando made its last stand from Lapolosa's height's, defensive rock redoubts dot its hills and one of the last Long Tom artillery pieces was spiked on an adjoining hillside.

Access to Lapolosa is through a manned entrance gate.

The main road through the reserve is private gazetted over 10 years ago. As you looked at them, they jumped out at you.

Wim Wenders and Peter Handke: "Collaboration, Adaptation, Recomposition"

Like commands. When he closed his eyes, and looked again afterwards, everything seemed to be different. The segments that could be seen seemed to glimmer and tremble at their edges Handke, , p. Somehow, images jump from the page, and the pages call back the images, in a game that is as schizophrenic as it is territorial, as if Bloch - and the reader-spectator - needed to unlearn in order to re-learn how to see.

In one of the most famous passages of the novel, the alphabet gets transfigured into drawings, as if the point of view of the character started seeing things without concepts, a direct vision between object and gaze, a hypothetical, speculative vision Image 3. He is in a bedroom and starts to notice the objects more closely, in their arrangement. His gaze functions as if on a reading. He sees a wardrobe, a small table and repeats it, as if his gaze transformed into the panoramic motion of a camera: he sees from left to right, then the other way around, and, suddenly, the objects, like words referring to things, turn into drawings and symbols that refer to words.

The interesting thing about the motion of the gaze is the way Bloch approaches the window. He observes what is outside: the train tracks; a passing train; a bicycle; a mailman; a mailbox. Source: Handke With this dynamic, Handke duplicates the gaze of the reader and the spectator. This translates into the narrative mannerisms that get stuck into Block, like the former goalie who watches the goalie in action, or the schizophrenic murderer who watches a football match while he is running away from the police. Disconnected, Bloch observes the world like he was reading it, and sees or reads facts like instantaneous images.

Thus, each short sentence generates an image superposed to another image, which, in a parataxis, is not more important than the previous one or the next one, as if we were watching a movie that is a movie that is a movie. The movement, therefore, is internal and elusive in regard to any teleology. The movement: an open route toward a non-cathartic transformation.

A slide through the chemistry of image until it hits the eyes of the reader. Like an open invitation to a broad and endless process of transformation, the movement has no goal; it is, by nature, erratic. A few months later, this script turned into the fifth feature film directed by Wim Wenders, and the second of three partnerships between the writer and the director Image 4.

Curiously enough, Handke opted for writing a film script directly, without going through the novel adaptation phase. Source: Rever Angle. In tandem with a Bildungsroman structure, the script and the movie The Wrong Move configures a road movie narrative. This dynamic evokes a singular experience of the modern man, of new makeups that claim other forms of writing, of dramaturgy and aesthetic relationship with the world. However, throughout the script, Wilhelm wonders about the role of writing in the contemporary world, as if, in the movement of his escape, of his shelters and meetings, he would forge the perception and sublimation of his identity crisis.

More than physical, the territory also alludes to the materialities - mediatic, physical, the supports - by which languages are erected; thus, the act of leaving, going away, taking risks and abandoning the native sod would also go through a will to surrender to other languages. This tension between two distinct formative dynamics, between writing and the camera, appears to be synthesized in the way Handke portrayed the protagonist in the script Falsche Bewegung Handke, Neither does he intend to be a moviemaker or a cinema man, in which case the shift would be too obvious and direct.

The Wilhelm from The Wrong Move dreams about writing, but does not know what to write or how he would write it. It is not just creative block or an elusive muse, classic themes of movies involving writers and screenwriters, but a total shift of meaning of writing before the objective world that surrounds him, faced with its objects and new experiences. As if writing no longer could be fulfilling or sufficient, in comparison with what it once was, for the formation of the individual. Even then, even insufficient as it has now become, erratic and incomplete, the writing gesture would be necessary.

With The Wrong Move, the dream of achieving identity solely through writing is dissolved. That does not mean that the promise of art of sketching out a better world, where one can finally live without alienation, is filed away, excluded once and for all.

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It only means that it cannot be accomplished in the present state of things Buchka, , p. It is, then, a tension between the seen things, in an immediate present that cannot be narrated, and the memories, or the isolation, which would be specific ways of representing the world through writing. There is also a storm, so that the moment is more restless and cloudy than what is depicted in the film. It is as if this tension between individual formation, image and writing created a unique moment and meaning. When there is rhythm and alternation between sentence and image, is there also ekphrasis 20?

Would the movements and the filmic sentence be ways of weaving ekphrasis within a game of poetics, diegesis and mimesis? Those complex questions lead to a dangerous, seductive, necessary digression, as well as a back-to-back reading of the other works by Peter Handke. Transversal, this style of imagistic sentence would be a tendency of contemporary art:.

The sentence is not the utterable, the image is not the visible.

Wim Wenders and Peter Handke: "Collaboration, Adaptation, Recomposition"

By sentence-image I mean the union of two functions to be aesthetically defined; that is, by the way they detach the representative relationship between text and image […] The image becomes the active, disruptive power, the leap of a change of regime between two classes of senses. The sentence-image is the union of those two functions. It is the unit that duplicates the chaotic power of the great parataxis in the form of sentence, of continuity and power of rupture.

As a sentence, it embraces the power of parataxis by resting before its schizophrenic explosion. As an image, it is respite from its disruptive power, the great slumber of exhaustion or the great collective ecstasies of the bodies. The emphasis on the conceptual operation of those sentence-images would lead primarily to a new effort of deciphering than to a crystalline-state perception of the aesthetic event; as if the phrase was the guiding thread that allowed the subject to reach the concepts.

Even though it is agglutinated to the sensorial, the sentence-image would lead - the spectator, the interpreter or the philosopher - to decipher pre-announced ideas, which, in their turn, would stimulate a politics of aesthetics. Ultimately, the sentence-image would reveal itself as a manifestation of ideas which, despite being aesthetic and sensorial, would be transposed by the work and interact, but would again lead to a current of concepts.

It is by means of language games that the articulation of those filmic sentences creates a parataxis, a superposing that stays taut and later suggests, without setting limits, the games and the possibilities of meaning. To Handke, in contrast, the sentence and the description are connected to a broad aesthetic description project, linked to the ekphrasis tradition, aimed precisely at catching glimpses of a limitary dramaturgy, installed, precisely and evasively, in between traditions, languages and media.

Handke, then, ends up concocting a mix of simulated thriller and half formation novel, in which images, photography, the billboards and radio news articulate the core of the sensations captured by the traveling protagonist. Keeping with our line of argument, it is worth highlighting an excerpt of this novel, in which the narrator walks into a movie theater to watch Young Mr. That is the context for the following citation:. Sitting in her covered wagon, their mother had witnessed the fight, but she refused to say which of her sons was the murderer. Some drunks tried to lynch the brothers, but Lincoln stopped them by softly reminding them of themselves, of what they were, what they could be, and what they had forgotten.

In the end, not only the drunks, but also the actors playing the drunks, were listening intently to Lincoln, and when he had finished they dispersed, changed forever. All around me in the theater I felt the audience breathing differently and coming to life again Handke, p. This excerpt is clearly a passing instance, a fleeting, passing moment of ekphrasis, in its most classic and traditional sense: a description not of a painting, but a cinematographic scene taken as a painting.

However grounded in the classic verbal description of an image, this ekphrasis highlights a point of view, a gaze and a mode of experimentation that is important for the author, the narrator or the character.

It is, perhaps, an ekphrasis intimately related to what Heffernan calls post-modern literature, in which the experience of the gaze is central for the realization of the transit between painting and literature. There is something new in ekphrasis [ Only rarely does the poet say explicitly what he or she feel about a work of art [ Keeping with the trajectory of Short letter, long farewell, that same scene of Young Mr. It was not by chance that the entire trajectory of the narrator culminates in an encounter with moviemaker John Ford, whereupon a real person enters fiction.

Thus, going beyond the framing of the description of a scene, by means of scenes that surround a movie, they end up suggesting other narratives, other images. The character, then, tries to create his own images within this fugitive scenery. He took us to his study and showed us a pile of movie scripts; writers were still sending them to him.

His wife was standing behind us in the doorway; he turned toward her and she smiled. The housekeeper brought him coffee in a tin cup. He drank with his head high, his free hand propped on his hip; clumps of white hair protruded from his ears. In another photograph, he had just finished a picture, he was kneeling on one knee, holding the tripod of a movie camera; the whole cast was with him, their heads inclined in his direction; one actor had his hand on the camera, as though caressing it Handke, , p.

This passage sees the directing of the narrative toward two very telling images.

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Handke first guides us to a picture hanging on a wall, which would be a call back to a moment when Ford was filming The iron horse and the director, realizing this direction of the gaze, then narrates some of the behind-the-scenes of that moment. In this novel, then, we have a meeting of narrative, diegesis and ekphrasis, when image itself appears as autonomous, before the eyes of the character and is rhetorically suggested to the reader.

This concern with purifying and inserting the image through itself would also be a way of making some distance from the Western literature mimetic tradition, since it aims less at the reproduction of an event than the accomplishment of a literary instant of visual fabling, which reveals itself as an event.

In a peculiar fashion, the dramaturgical and literary work of Peter Handke ends up bringing up distinct stirrings and traditions that deal, both straightforwardly and tangentially, with the ekphrasis phenomenon. They are flashes of ekphrasis that teem among speeches, phrases, paintings, films, spaces, landscapes, and cities. They may consist of a programmatic act, dressed up as fable, which projects scenes on screens that are not the individual memories of readers, listeners and spectators. Indifferent to the frontiers of media and the traditions of poetic or narrative genres, the ekphrasis is the lifeline of an incessant, erratic movement that has no exact goal.

Although discreet and latent, ekphrasis will allow Handke to shift his writing, to see it anew, to form it as he is formed; it will allow him to see himself as he writes; to see himself as a writer while also being a screenwriter and filmmaker; and to see himself, as a writer, also as a cinephile, a moviegoer, someone who, reflected in the cinematographic image, identifies his own contours, invigorating a Greek-Roman rhetoric tradition.

Uncertain, the time of formation unfolds and projects itself as the very moment of transformation. However, there is something more. Within a broad panorama of performance aesthetics, autopoiesis favors this precise moment in which the acting calls attention to itself, in which the actor is responsible for the dramatic feelings, but this instant in which the scene becomes an evidence of itself is also needed in order to reverberate directly with the spectator.

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Autopoiesis does not articulate the actions associated with drama, but the instant in which the scene emerges and gets transfigured between the spectator and the audience. More than a reflective act, of meta-theater or meta-language, autopoiesis puts in evidence the situations in which bodies and presences are transfigured into full-fledged feelings or sensations. We would risk a synthesis: autopoiesis would be a poetics of transformation - evident in itself, a crystal-clear, null, non-cathartic metamorphosis.

keaterdiotweet.tk The conditions for permanent attention, as occurs in the staging of arrival and emergence, represent and at least defend non-ordinary, exceptional deeds. The experience stemming from this emergence and autopoiesis, and from the permission awarded by a feedback, corresponds, on the other hand, to many of our day-to-day experiences Fischer-Lichte, , p.

Autopoiesis would, then, be dealing with a form of evidence of the presence in the scenic process, which, paradoxically, would not desire a reflection about language but just to re-introduce it, re-stage it, distinctly and discreetly. Brady and Leal argue, against the grain of current scholarship, that this period saw Wenders's experimentation and Handke's aesthetics transformed: the authors show how multiple media are incorporated into and problematized in both writing and in film by Wenders and Handke, and how this resulted in changed programs of aesthetics in their native medium beyond the period of collaboration.

Importantly, this book reevaluates commonly held views of Wenders's films during this period but also the evolution of Handke's literature, and therefore would be of interest to Germany film and literary scholars, as well as film and media studies specialists who research adaptation and intermediality. Throughout Wim Wenders and Peter Handke , care is taken to expound upon the many divergences between text and film, which signal a departure from conventional literary adaptations and make a case for Wenders's films as independent works of art despite their roots in Handke's work.

This term connotes the manner in which literature and film interact and, in this way, are reshaped, especially through the process of adaptation. This is a missed opportunity given the study's high relevance and important contribution to the discourse, particularly in film and literary studies approaches to intermedial configurations.

The book is logically organized with chapters 1, 2, 4, and 5 examining collaborative works based on each of four models of adaptation and chapter 3 comparing independent projects of Handke and Wenders in order to show that, even when working apart, their work exhibits many common themes and aesthetic concerns. Chapter 1 explores the initial contact and collaboration between Handke and Wenders, while explicating their radical differences in artistic approaches. Although recognizing Handke as the more accomplished artist at the time of their first meeting, Brady and Leal persuasively challenge the notion of a mentor relationship assumed to exist between Handke and Wenders.

Here the authors argue that their unusual collaborative projects contributed to the divergence of their styles from pre- to post-collaboration. In particular, the films Chronik der laufenden Ereignisse Chronicle of Current Events , and Silver City Re-visited by Handke and Wenders, respectively, around the time of their first project together, 3 American LPs , already manifest themes, stylistic features e.

Wenders is quoted as saying that his understanding of the novel and its filmic qualities led him to produce the film, albeit with vastly different emphases. According to the analysis of Handke's Short Letter, Long Farewell and Wenders's Alice in the Cities in chapter 3, emphases on linguistic construction of reality Handke and formalist aesthetics Wenders are discarded in favor of greater focus on subjectivity, which leads to a more cinematic literature and narrative cinema, respectively. The fourth chapter investigates the culmination of their work together on the example of Wrong Move.

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