Atlantics (French: Atlantique) is a 2019 internationally co-produced supernatural romantic drama film directed by Mati Diop, in her feature directorial debut. Diop made history when the film premiered at Cannes, becoming the first black woman to direct a film featured In Competition at the festival. At Cannes, the film won the Grand Prix. (wiki)
Hase / Rabbit / Coniglio is situated above the village Artesina in the Italian Alps.
timespace coordinates: New England island in the 1890s
The Lighthouse is a 2019 psychological horror film directed and produced by Robert Eggers (the vvitch – 2015), who co-wrote the screenplay with his brother Max Eggers. Shot in black-and-white with a 1.19:1 aspect ratio, the film stars Willem Dafoe and Robert Pattinson as two lighthouse keepers who start to lose their sanity when a storm strands them on the remote island where they are stationed.
The literature of Maine-based writer Sarah Orne Jewett served as a significant point of reference for the dialects used in The Lighthouse. Maritime and surrealistic elements from the works of Samuel Taylor Coleridge, Herman Melville and Robert Louis Stevenson also informed the writing of the film. According to Eggers, a 19th-century incident at Smalls Lighthouse in Wales involving two lighthouse keepers (both named Thomas, as in the film) was an additional source of inspiration. (wiki)
Storm Boy is an Australian drama family film based on the novella by Colin Thiele of the same name. The adaptation was directed by Shawn Seet and stars Geoffrey Rush and Jai Courtney. Thiele’s novel was previously adapted in 1976. (wiki)
“The whole ambition of the picturesque was to rework the natural world into a ‘landscape’ – a word that came to England at the end of the sixteenth century
from the German, via the Dutch. Early English uses of ‘landskip’ are strongly cultural – the word is used to describe paintings,
particularly the backgrounds of paintings, and thereby any view that could conceivably be painted.”
“The picturesque encouraged the critical appreciation of nature as a spectacle. Observers of a scene – the word ‘scene’ itself reveals the implicit theatricality of viewing – became an audience, by turns appreciative or critical.
Hence natural landscapes became part of culture, and were understood, judged, and painted according to artistic conventions and aesthetic theories.
For a growing proportion of the increasingly urban population, initial encounters with natural landscapes would be through the medium of art: representations delivered either by pastoral poetry or in picturesque images.”
‘In grand scenes, even the peasant cannot be admitted, if he be employed in the low occupations of his profession: the spade, the scythe, and the rake are all excluded.’ What was allowed was pastoral idleness: the lazy cowherd resting on his pole . . . the peasant lolling on a rock’, an angler rather than a fisherman, and gypsies, banditti, and the occasional individual soldier in antique armour. The image of the countryside presented therefore looked very much in need of improvement – slack, inefficient, indigent, lawless, and archaic. Moreover, once ‘improved’ the landscape was likely to be as empty of agricultural labour as the picturesque depicted it since nearly all the peasantry would have been forced off the land.
As the world around us increases in technological complexity, our understanding of it diminishes. Underlying this trend is a single idea: the belief that our existence is understandable through computation, and more data is enough to help us build a better world.
In reality, we are lost in a sea of information, increasingly divided by fundamentalism, simplistic narratives, conspiracy theories, and post-factual politics. Meanwhile, those in power use our lack of understanding to further their own interests. Despite the apparent accessibility of information, we’re living in a new Dark Age.
From rogue financial systems to shopping algorithms, from artificial intelligence to state secrecy, we no longer understand how our world is governed or presented to us. The media is filled with unverifiable speculation, much of it generated by anonymous software, while companies dominate their employees through surveillance and the threat of automation.
In his brilliant new work, leading artist and writer James Bridle surveys the history of art, technology, and information systems, and reveals the dark clouds that gather over our dreams of the digital sublime. (VERSO)
man always makes it clear to himself: “You are using things which have the intention of not being penetrable.” 1180
“What we see and what we seem are but a dream, a dream within a dream.”
Picnic at Hanging Rock is a 1975 Australian mystery drama film which was produced by Hal and Jim McElroy, directed by Peter Weir, and starred Vivean Gray, Dominic Guard, Anne-Louise Lambert, Helen Morse, and Rachel Roberts. It was adapted by Cliff Green from the 1967 novel of the same name by Joan Lindsay, who was deliberately ambiguous about whether the events really took place, although the story is in fact entirely fictitious.
Marion stares down at the Picnic Ground and says, “Whatever can those people be doing down there, like a lot of ants? A surprising number of human beings are without purpose though it is probable they are performing some function unknown to themselves.”