CSS: Werckmeister Harmonies (Bela Tarr, 2000) & dj set Julian M
La COLECTIVA GAZETTE
15 Martie 2018
Werckmeister Harmonies ca si titlu subtilizeaza o schimbare facuta in canonul unor anumite armonii muzicale din istoria muzicii, metafora la zorii unor noi paradigme care se nasc din ciocnirea a doua lumi. Insa in film aproape ca nu e vorba de o explozie ideologica fatisa, ci de-o implozie a lumii vechi din interior. Tarr aduna toti monstrii alegorici ai lumii contemporane pentru a arata fata diforma a unui presupus “The Prince” care doar la o singura aparitie a sa, starneste emotii si forte contradictorii in constiinta alunecoasa a multimilor.
A traduce monstri pe care Bela Tarr ii ridica impersonali dintr-o ceata ideologica stranie e ca si cum as cauta sa inteleg natura raului pe care regizorul maghiar o ridica ca problema subtila in filmele lui.
Armoniile lui Werckmeister prefigureaza o viziune distopica asupra cataclismului ideologic care se isca intre doua lumi, oricare ar fi acesteea in orice epoca istorica, in special est versus vest.
Morala fabulei cinematice a lui Bela Tarr –
Un Stat al Strainilor, adunati in jurul unei balene ideologice fosilizate ce adaposteste speranta alienata a unei prezente diforme!
Sa fie oare filmul acesta definitia lui Bela Tarr asupra capitalismului?
un text de Stefan Aganencei
Werckmeister Harmonies as a title underlines a change in the canon of certain musical harmonies in the history of music, the metaphor at the dawn of new paradigms that are born from the collision of two worlds. But in the film, it’s almost not a fake ideological explosion that takes place, but more of an implosion of the old world from within. Tarr gathers all the allegorical monsters of the contemporary world to show the skewed face of an alleged “The Prince,” which, at its only appearance, raises emotions and contradictory forces in the slippery consciousness of the crowds.
To translate monsters that Bela Tarr raises impersonally from a strange ideological fog is like trying to understand the nature of evil that the Hungarian director raises as a subtle problem in his films.
Werckmeister’s harmonies prefigure a dystopian vision of the ideological cataclysm that spans between two worlds, whichever those would be in any historical age, especially East versus West.
The moral of Bela Tarr’s cinematic fable –
A State of the Alienated, gathered around a fossilized ideological whale that shelters the alienated hope of a diffuse presence!
Is this movie Bela Tarr’s definition of capitalism?
Julian M has been around on the Romanian electronic music scene since
the early 2000s, when the clubbing movement was just starting to
After creating Future fm, the first pirate radiostation which promoted
exclusively electronic music (starting in 1998), his love for music
made him get actively involved in organizing the first electronic
music events on the coast of the Black Sea.
Julian also produced radioshows on various radio stations.
As a producer, he released materials on several labels and was the
first Romanian artist to appear consecutively on FOEM Electronic Youth
Julian enjoys creating true musical trips, his eclectic & melodic mix
sets passing through a variety of styles, from Downtempo to Soulful &
#ColectivaSilverScreen proposes a series of feature and documentary film screenings with dystopian, anarchist, activist, trangressive and other various underground culture related themes, ranging from the culture’s onset until the present day.
Artwork: Alexandra Mocan
Via Colectiva Silver Screen