A Word With The Readers
“Cinema is not to able to cure all the man’s pains. It is Aspirin , not the medicine.”
And with this simple sentence we hear all of the definition of Luc Besson’s cinema , in his own voice.
Luc Besson is a modern pictorialist who is said to be the head of the second New Wave of the cinema of France. A filmmaker who makes pulp movies and beside Paris, owns big film studios in Normandy , New York , China and Japan, too.
Some theorists call him post modern and some an auteur inside the great trend of globalization , and even Raphaël Bassan calls his cinema Neo Baroque.
Besson , Jean-Jacques Beineix and Leos Carax are known as the founders of the movement of “Cinema du Look”. “A flourishing cinema in which style is favored over substance and spectacle over narrative.”
The subjects in this section call us to recognize this part of the world cinema named as Hollywood of France.
Film score is chosen for Iran Cinema in this issue. The audience in cinema , in comparison with literature or visual arts or music, are considered passive. He or she has to live the screenplay as the film dictates and there are only some elements of cinema that provide the possibility of living inspired by the film but at the same time different from it. One such element is the film score.
As the music build its own independent, its role in evolution of the movie is unique.
How the interaction between musician and director is formed? The musician’s entrance into the movie is how and when? after screenplay , Simultaneously with filming , after editing or after sound editing?
Maybe we can not call John Cassavetes , who as a director , writer , actor and film editor has grown in sixties and seventies in Hollywood , unknown , but as you will see in the section Movies and Emotions of this issue , some aspects of Cassavetes’ art life such as screenwriting , and characterization in particular and memorable playing the cast- which are mostly rated improvisation – are not subjected to serious attention in Iran , yet. “Personal expression” is what Cassavetes emphasis on, in all its dimensions. “Without creative personal expression, we are abandoned in a media of illusions which will not add anything more than a slight deviation to a world which is already saturated with deviations”. The solution can not be found in the hands of capital owners, because probably their tendency toward financial success has been the only reason for going them toward movie making, in the first place. The solution should come from the artist.” The personal expression is what Cassavetes part is providing answer for.
There are three views regarding definition of motif : ” Motif is the writer’s mentality and is in self-conscious “. The second consider it as a repeating element. Nothing by itself is motif. But when repeated, it provokes the audience and emphasizes that there is reason for this repeating. The third view emphasizes that the dominant subjects and mental patterns in the text can shape the motif. Each literary text is a network of themes which are referring to the pivotal and main subject of the text and give it coherency. Each theme that becomes the dominant element in the text is motif and repeating the theme is the reason of it becoming dominant …”
Motif is the pivotal subject of the literary section of the issue 60 and attend to its different angles in fiction literature.
Most of the critics consider the 1340s the decade of flourishing the modern art and literature of Iran. Iran’s story writing in 1340s with its various achievements laid the groundworks for modernism of the contemporary literature in the post revolution years. ” The strong cultural movement which we are talking about can be seen in the diversity of the literary magazines of the 1940s, too. The modern literary magazines such as Arash with its first issue published in the Autumn of 1340 played an important role in formation of avant garde trends “. But in literature of 1340s we witness two main trends which are present in parallel. Committed Literature and Art trend which its pioneer is Jalal Al-e-Ahmad and the second trend which is named “Art for art” . A trend which was elated by Ebrahim Golestan and the writers such as “Shamim Bahar, Ali Morad Fadayeenia, Tina Tehrani, Amir Golara, Kazem Reza and … who by sensitiveness and obsession were buried in a hidden place of the closet of invisibility .” The first trend was shaped around a dialogue which later was named “Westernization dialogue” But the concerns of the second course were aesthetics and formalism , without any worry about social commitment or political struggle. The literature of 1340s is never finished and constantly floods to our “here and now”. The dossier of this issue is a prologue for literary trends of that decade and contemplating its artistic and literary events and the effects it received from previous decades and passed to the next decades, till today and this moment.
The first issue of ” Guattari and Deleuze for another century” studies the clinical , political and artistic dimensions of Deleuze and Guattari’s philosophic program before and after their acquaintance; what is called the “critical and clinical” aspects of the Guattari and Deleuze’s philosophy.
Deleuze in the first period of his works till 1969 and his book The Logic of Sense creates a distinct and creative picture of the works of the philosophers who define a rationalistic line from Lucretius to Nietzsche and Bergson. Guattari in same period, by participating in all Lacan’s and radical leftist groups’ seminars, tries to present a distinctive formation of ” Political application of Subconscious”.
Their cooperation starting from Anti-Oedipus, introduces the Schizoanalysis program as ” characterization of the consequences” which are constructing the “virtual lines” that are shapers of psycho- society .
Deleuze and Guattari present a kind of futuristic of these consequences as molecular revolution against power systems.