2005 rugsėjo 25d., sekmadienį, 17:00 val.

Kino teatro ‘Lietuva’ uždarymo vakarėlis

Ladies and Gentlemen:

My name is Kees Brienen, and I would like to spend a few words on the incredible film The Idiots by Lars von Trier, that you will be watching after my modest introduction in which I would like to offer you a kind of framework in which this film and the Dogma 95 manifest can be understood...

There has been a revolution taking place, not only in a social and political context, but also in the world of visuals. New technical audiovisual developments are making the unthinkable possible. The visual language through which we communicate has been digitalised and this process has left its mark on the art of filmmaking. The simplification of technology and production have opened new possibilities for artistic expression. The very fact that almost every image we see in advertising, printed material, telecommunication, film and video has been produced, using some form of digital image manipulation, speaks volumes about the speed in which this revolution has taken place.

Besides its technical changes, filmmaking has gone thru a proces of democratisation. It is not only a small elite that has the opportunity to express themselfs by making film, today almost everyone can make a reproduction of a personal reality in moving images, you only needs a small DV-camera and a computer to edit. Jean Cocteau quoted in 1959: ‘Film is not truly an art form until it is accessable as a pencil and paper’. I think it is because of the introduction of digital technology that for the first time one can say that film has become a thru art form...

Drastic changes can be made at any point in the filmmaking process. Image and sound manipulation is possible right down to the pixel. With the use of filters, tools and plug-ins, every image sequence can be slowed down, speeded up, stretched, morphed, reduced or enlarged. The time-based and 3D structure is open for every transformation imaginable. So-called ‘real action’ has become only a small part to play in the massive choice on offer as a means of expression in film.

Digital film has also influenced the traditional methods of screening and distribution. Filmmakers and producers are no longer reliant on the regulations of the international consortia that control the movie theater business. In its most simplified form a production can be made using an amateur DV camera and a PC and then release the production world wide via the internet.

It was the Dogma 95 manifest and the first few films Festen and The Idiots that were made according to these rules that made me understand the impakt of these drastic changes in production, distribution and consumption of the moving image in its widest sense. The possibilities of digital filmmaking are unlimited, and I believe it was the Dogma 95 manifest that formed a culture-critical basis to be able to understand the current developments.

Since the introduction of digital filmmaking we have to create our own limitations in the filmmakingproces in order to being able to encourage analysis, reflection and comparison. In a world where change is the only constant factor I would like to finish my introduction with the words of Pierre Teilhard de Chardin; ‘The history of the living world can be summarized as the elaboration of ever more perfect eyes within a cosmos in which there is always something more to be seen'.

Ladies and Gentlemen: The Idiots...

17:00 – Vakarėlio pradžia
18:30 – Kino filmas ‘Idiotai’, 1998, Švedija, Prancūzija, Nyderlandai,
[1.56 val.]
20:30 – Pertrauka
20:50 – Kino filmas ‘Skrydis virš gegutės lizdo“, 1975, JAV, [2.13 val.]

uždarymo vakarelį organizuoja k/t 'Lietuva'
kur: k/t 'Lietuva', Pylimo 17, Vilnius