FESTIVAL IZIS 2200 UND3R
Jean Painlevé: Znanost je fikcija
Pred stoletjem je Akademiji znanosti predstavil svoj prvi članek kot edini otrok slavnega matematika in državnika Paula Painlevéja. Bil je 22-letni raziskovalni biolog. Delal je v Sorbonovem laboratoriju za primerjalno anatomijo, se ukvarjal z avantgardo in motornimi dirkami. Zgodaj se je zavzemal za obrambo in organizacijo dokumentarnega filma, hkrati pa se je boril tudi proti fašizmu. Večino svojega življenja pa je snemal skrivnosti življenja pod vodo, raziskoval tehnike razkrivanja neskončno majhnega znanstvenikom in, še pomembneje, širši javnosti.
Njegovi pionirski filmi se od preprostih filmov o naravi ne razlikujejo le po tem, da nas sprašujejo o naših idejah o tem, kako gledamo na druge vrste, ampak tudi izpodbijajo naše estetske predpostavke in nas spodbujajo, da ponovno razmislimo o vlogi domišljije v znanstvenih filmih.
IZBOR FILMOV:
Kako se rodijo nekatere meduze
1963 – 14’- ČB
Režija Jean Painlevé s pomočjo Geneviève Hamon. Glasba: Pierre Conté.
Krmljenje in razmnoževanje različnih vrst meduz, od katerih nekatere niso večje od milimetra.
Čeprav so bili prvotno namenjeni kot raziskovalni film, je Painlevé svoje posnetke spremenil v film za splošno javnost, saj se mu je zdela tema dovolj zanimiva, ker vsebuje nekaj redkih mikroskopskih vrst meduz. Poudaril je delni “nekaj” (“des”), saj se ne ukvarja z vsemi vrstami meduz.
Ljubezensko življenje hobotnice
1967 – 13 min – barvni – zvok
Režija: Jean Painlevé in Geneviève Hamon
Komentarji: Jean Painlevé, prebral Roger Clairval
Glasba: Pierre Henry
To znanstveno opazovanje ljubezenskih dogodivščin hobotnice je bilo posneto v obdobju več kot deset let na postajah za morsko biologijo v Banyulsu in Roscoffu. Painlevé uporablja hitri film, ki prikazuje razvoj jajčeca hobotnice skozi stopnje torzije in rotacije.
Film prikazuje gibanje hobotnice iz vode, pri oseki, in nato pod vodo. Nadalje predstavlja uporabo njihovega dihalnega sistema kot krmila, njihovo vedenje med parjenjem in odlaganjem jajčec ter na koncu razvoj zarodka in izvalitev jajčec.
Morski ježki
1954 – barvni – 11′
Režija: Jean Painlevé.
Kamera: Claude Beausoleil
Glasba Jean Painlevé: organiziran hrup, kot poklon Edgarju Varèseju in “Pravemu Mambu”
Biologija in obnašanje morskega ježa. Dokumentarni film, ki uporablja makro- in mikrofilm, razkriva več anatomskih podrobnosti. Za Painlevéja je ta film odseval arhitekturo ježka iz “dorskih” stebrov njegovih konic do mikroskopskih pecljev, čutilnih organov in obrambe.
Hobotnica
1928 – 13 min – ČB
Hobotnica je eden prvih Painlevéjevih filmov, ki je izšel v Parizu leta 1928 na avantgardnih prizoriščih in v kinematografih. Predstavlja študijo te živali, njenih “zelo človeških” oči zaradi vek, dihanja in spreminjanja barve kože v bližnjih posnetkih. Po delu, v katerem ribiči z rokami zgrabijo hobotnice, se film odpre s nadrealistično navdihnjenim delom hobotnice na obrazu punčke in v bližini lobanje v akvariju.
Morski konjiček
1934 -13 min – ČB
Režija: Jean Painlevé
Komentar: Jean Painlevé, prebral Ben Danou
Glasba: Darius Milhaud
Painlevéjev najbolj znani film, izdan leta 1931 kot nemi film, vendar je bil leta 1934 prilagojen za zvok in zahvaljujoč Pathéju distribuiran v komercialnih gledališčih. Painlevé je film posvetil “vsem tistim, ki se trudijo izboljšati svoj položaj, ženskam, ki so želele nesebičnega partnerja, pripravljenega deliti svoje žalosti in svoje radosti.” Morski konjiček – kjer samček prevzame tradicionalno žensko vlogo nege jajčec in rojstva – je simbol vztrajnosti, ki združuje najbolj moški napor z največ materinske nege. “
Rak puščavnik
1931 – ČB, – zvok z mednapisi, 13′
Režiser in urednik: Jean Painlevé
Glasba: Vincenzo Bellini, dirigent in vodja Maurice Jaubert
Rak puščavnik predstavlja vedenje tega morskega raka, ki naseljuje prazne školjke.
Lahko si ogledate kako tehta, pregleduje in meri školjke, da izberete najboljšo. To je prvi etološki film Jean Painlevéja: preučuje vedenje raka puščavnika in reakcije na poskuse, naravne ali eksperimentalne.
Rak puščavnik je pretveza za igriv priklic stanovanjske krize tridesetih let, jiu-jitsu gibov med bojem med raki puščavniki, ali nogometne tekme, ko hitijo proti plutni žogi, obremenjeni ravno toliko, da dosežejo morsko dno, izpred fiktivnega ozadja.
Jean Painlevé: Science is Fiction
A century ago, he presented his first paper to the Academy of Sciences as the only child of the famous mathematician and statesman Paul Painlevé. He was a 22-year-old research biologist. He divided his time between Sorbonne’s comparative anatomy laboratory, the avant-garde, and motor races. Early on, he campaigned to defend and organise documentary cinema, while also fighting against fascism. But he spent the majority of his life filming the mysteries of life underwater, researching techniques for revealing the infinitely tiny to scientists and, more importantly, the general public.
His pioneering films not only differ from straightforward nature films in that they lead us to question our ideas of how we view other species, but they also challenge our aesthetic assumptions and prompt us to reconsider the role of imagination in science films.
FILM SELECTION:
How some Jellyfish are born
1963 – 14’- B&W
Directed by Jean Painlevé assisted by Geneviève Hamon. Music by Pierre Conté.
Feeding and reproduction of different species of jellyfish some of them no bigger than a millimeter.
Originally intended as a research film, Painlevé turned his footage into a film for the general public as he found the subject sufficiently intriguing as it features some rare microscopic species of jellyfish. He stressed the partitive “some” (“des”) as he does not deal with all kinds of jellyfish.
The Love life of the Octopus
1967 – 13 min – Colour – sound
Directed by Jean Painlevé and Geneviève Hamon
Comments: Jean Painlevé, read by Roger Clairval
Music: Pierre Henry
This scientific observation of an octopus’s amorous adventures was filmed over a ten-year period at the Marine Biology Stations in Banyuls and Roscoff. Painlevé makes use of a high-speed cinema, showing the development of an octopus egg through stages of torsion and rotation.
The film shows the motion of the octopus, out of water, at low tide, and then under water. It goes on to present the use of the respiratory system as a rudder, the behaviour during mating and egg-laying, and finally, the development of the embryo and the hatching of the eggs.
Sea Urchins
1954 – Color – 11’
Directed by Jean Painlevé.
Camera: Claude Beausoleil
Music by Jean Painlevé: organised noise, as a tribute to Edgar Varèse and “The real Mambo”
Biology and behaviour of sea urchin. Documentary using macro and micro cinema, revealing several anatomic details. For Painlevé this film reflected the architecture of the urchin, from the “Doric” columns; columns of its spikes to the microscopic pedicels, organs of the senses and of defense.
The Octopus
1928 – 13 min – B&W
The Octopus is one of Painlevé’s first films, released in Paris in 1928 in avant-garde venues and cinemas. It presents a study of this animal, its eyes “very human” due to their eyelids, breathing, colour changing skin in close-ups. After a sequence with fishermen grabbing octopi with their hands, the film opens with a surrealist inspired sequence of an octopus on a doll’s face and near a skull in an aquarium.
The Seahorse
1934 – 13 min -B&W
Directed by Jean Painlevé
Comments by Jean Painlevé read by Ben Danou
Music by Darius Milhaud
Painlevé’s most famous film, released in 1931 as a silent film but adapted for sound in 1934 and distributed in commercial theatres thanks to Pathé. Painlevé dedicated the film “to all those who struggle to improve their lot, to women who wanted an unselfish partner, willing to share their sorrows as well as their joys. The seahorse – where the male takes on the traditional female role of nurturing the eggs and giving birth – is a symbol of tenacity, combining the most masculine effort with the most maternal care.”
The Hermit Crab
1931 – B&W, – sound with intertitles, 13’
Director and editor: Jean Painlevé
Music: Vincenzo Bellini, orchestrated and conducted by Maurice Jaubert
The Hermit Crab presents the behavior of this marine crustacean, that inhabits empty shells. One can see it weighing, examining and measuring shells in order to chose the best one. It is Jean Painlevé’s first ethology film: it studies the hermit crab’s behavior and reactions to experiments, natural or experimental.
The Hermit Crab is a pretext to a playful evocation of the housing crisis of the thirties, of jiu-jitsu moves during a fight between hermit crabs, or of a football match when they rush towards a cork ball, burdened just enough to reach the sea floor, before a fictive background.
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