Maria Enzensberger translates “Moviecraze” by Mayakovsky and “Charlie Chaplin” by Mandelstam and establishes a relation between Vertov’s cinematic technique and Mayakovsky’s poetry. Fettered by Film recollected by Lili Brik is juxtaposed with Martine Franck’s photograph (see also Cartier-Bresson’s in PIX 2). Thomas Elsaesser’s interview with Walter Reisch spans Vienna – Berlin – London – Hollywood with anecdotes ranging from songs, salami and Churchill to first watching Brigitte Helm in Manolescu. Stanley Chapman’s chance encounter with Helm’s films moves him to produce poems and drawings. Lionel Rogosin remembers his response at age eleven to Flaherty’s Man of Aran. Ros Sarkin recalls the screening of Rogosin’s docudrama, Come Back, Africa at the Durban International Film Festival, in defiance of the apartheid police. Enthusiasms are transmitted by Paul Willemen on the photographs of Caroline Kerr with echoes of Hitchcock, and John Willett on Rémi’s cartoons and zoetropes. Poems by Mani Kaul.
The front cover reproduces a collage by Henri Cartier-Bresson; the back cover, one of his paintings. In this first comprehensive survey of Cartier-Bresson’s documentaries and views of cinema, he puts in context his apprenticeship with Jean Renoir, his own film-making, his surrealism and his delight in coincidences. The feature includes forty-five film frames, eighty of his drawings and photographs, as well as Martine Franck’s photographs of him filming Southern Exposures. (Delivering his article on Keiller’s London, Mike Hodges recognized the location of Get Carter in Cartier-Bresson’s drawing of a Newcastle bridge.) Geoffrey Nowell-Smith talks to Bernardo Bertolucci whose award-winning early poems are translated for the first time into English by James Greene for PIX. Nick Wadley weaves a relation between masks, music and the dances of dream with the Brothers Quay. John Akomfrah contextualizes Anand Patwardhan’s work and Alex Napier follows the movement of Patwardhan’s camera of resistance.
The cover shows stills from Franciszka and Stefan Themerson’s Europa and Amos Gitai’s Golem – The Spirit of Exile. A central section on the Themerson films, with drawings, photograms and film stills, includes Barbara Wright’s “How the Themersons turned me into a Translator” and A. L. Rees on the historical and cultural context of their films. Tina Keane films her journey to the VideoBrazil Festival to exhibit her installation Escalator. Robert Crusz on the screening of his autobiographical film Inbetween at the London Film Festival; Peter Wollen on curating “Arrows of Desire” at the Institute of Contemporary Arts’ Independent Film and Video Biennial; Howard Skempton on John Cage, landscape, space and silence; Paul Willemen on Steve Dwoskin’s Face of Our Fear; Juliet Mitchell on Mark Peploe’s Afraid of the Dark; Shinya Tsukamoto on Metropolis, 8mm film and theatre, and Andrew Korn on Tetsuo and cyberpunk; John Howe’s and Woody Haut’s anecdotes of going to the cinema in 40s Trincomalee and 60s San Francisco.