РЕЖИССЕР ЮРИЙ КУЗИН: АНТИ-ДОГМА 2005
Фильм о сексуальном этикете у чеченцев и русских требует манифеста!
Шок, который вызовет фильм «ЗАЧИСТКА», настолько неуправляем и не предсказуем, что мне, как режиссеру и продюсеру данного проекта, понадобилось написать этот анти-манифест. О чем он? Наверное, о смерти кино – ни о чем другом, очевидно, писать и не стоит. Этим эдиктом я объявляю конец эпохи Ларса фон Триера. Звучит самонадеянно. Но, увы!
Предпосылки:
1. Никогда не манифестировать, кино не нуждается в апологиях и апориях с тех пор, как утратило репродуктивную функцию… Кино бесплодно, и это факт стоит признать…
2. Никогда не пользоваться камерой и микрофоном, воображение – вот аппарат Пате, мысль и память – вот пленка Кодак, собеседник - вот идеальный зритель…Кино будущего – не технологично.
3. Никогда не говорить о времени в кино, фильм, если он тактилен, заставляет нас ощупывать мир, пробовать его на зуб, чувствовать кожей его вибрацию. Отсюда «складка» Делеза, отсюда гобелен - предтеча и будущее киноискусства…
DOGME`95
Project DOGME`95 is one of the major events in European cinema of the end of this century. It is alternative to all basic principles of postmodernism and offers filmmakers, burdened with the weight of experience and tired of all the refinements, to make a refreshing “Vow of Chastity”.
The Vow was signed by a famous Danish director Lars von Trier, and his younger companion Thomas Vinterberg. The manifesto declares the following set of rules:
1. no props or sets,
2. sound recorded together with the image,
3. hand-held camera only,
4. the unity of time and place,
5. non-acceptance of superficial action and other genre “gadgets”,
6. deny the cult of director: the director must not be credited.
The first film made in the framework of DOGME project that evoked a scandal, was “The Idiots” by Lars von Trier. The second one that arouse an even stronger world –wide response, was “The Celebration” by Thomas Vinterberg. And the third one – “Mifune” by Soren Cragh-Jacobsen. The concept of DOGME found its followers not only in Denmark itself, but also in France and the USA. The classic American avant-garde Paul Morrissey and as far as we know one of the presently popular Hollywood directors Mike Figgis have expressed their wish to join in the DOGME project.
ANTI-DOGME 2005
THE DOGME was born in depths of the European cinema. As the whimsical child in rich family it drove friendship with children from slums. It has replaced a dress coat with a tatter; it ate dross, wandered on houses for poor. And all this to tell: " If Jesus Christ was poor, then also church should be poor". It is possible DOGME is only advertising gimmick. By one (producers) it brings huge money, other (film-historians) - opportunity to supervise over faculties in Sorbonne. As any religion DOGME is vailable to create the inquisition to heat space by enemies of Dogma. The time has come to tell DOGME: "stop". The new manifest is necessary. The new projects. Be not surprised, if such manifest will not blow up the world.
ANTI-DOGME
1. The technical simplicity does not result in the truth, but the technical refinement does not result also in it.
2. The failure of scenery does not result in authenticity, scenery can appear and reality.
3. Direct record of a sound only draft copy, preliminary diagnosis. As frequently, patient dies from other illness. The sound, which enters the name later, is similar to opening at anatomic theatre.
4. The manual chamber reminds a broom, with which clean streets.
5. The unity of time and place gives back by boredom as lessons of the literature about Racine and Corneille.
6. Failure of the director to put the name in credits an advertising gimmick or whim. Only the God, created this world, could remain anonymous not from vanity.
The manifest ANTI-DOGME makes senseless any manifest. A word - badly convertible currency. Silence - our manifest. But silence eloquent.
Urii KUZIN
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