Beckett’s pauses / Students’ Warning

Two letters in the Guardian this week past caught my attention. The first concerns the pauses in Samuel Beckett’s Waiting for Godot. Murray Marshall of Salisbury writes:

 

  • The obituary for Timothy Bateson (Obituary, 8 November) mentioned the difficulties that original cast had with grasping the meaning of Waiting for Godot. The author himself was apparently not a lot of help. A friend of mine was assistant stage manager on the first production, and the cast and crew eagerly awaited Beckett’s visit to a rehearsal. They assembled after performing to be enlightened by the great man. After a suitably Beckettian interval, he said: “The pauses were not long enough.”

I also have a story about this, which comes from the horse’s mouth, or anyway, Peter Hall, who directed that first production in 1955. Many years ago, when I was taken to visit him at his house near Wallingford, he told us what happened when they played in Blackpool before coming to London, and the audience was mystified and bored. Someone noticed that the last train back to London on a Saturday night left before their scheduled finish, so in order to catch it, they decided to eliminate the pauses. The play went by like a flash, the audience found it very funny and laughed a lot, and they got their train!

* * * * *

The second letter is an altogether more serious matter. This is from almost 200 student union officers warning MPs that unless they sign a pledge to vote against an increase in fees, they will be named and shamed. Continue reading

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Curtocircuito: Materia

Here’s the third film from the Curtocircuito workshop, Materia by Pablo Fontenla and Marce Magán. This one hardly needs subtitles. The text at the end says ‘Everything exists or doesn’t exist. Something can be at the same time itself and something else.’ A quote from Engels’ Anti-Dühring (although I believe Wittgenstein said something very similar).

[wpvideo sLxR3yDr]

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Non-compliance

This morning I caught the end of a story on the BBC news which concluded ‘The government says it wants universities to treat students more like consumers’. I respond by emitting an exclamation which cannot be repeated in polite language. How long have we been suffering from this worse than asinine instrumentalism? This kind of consumerisation is the negation of all pedagogic values, which depend on a dialogue between teacher and pupil which does not exist between buyer and seller. Teaching and learning are not separate processes but a dialectic. To ignore this is a violation of the student’s humanity, a denial of the hope that education offers to intelligence and imagination (or what’s left of them after getting through the school system). I therefore refuse to comply. To do so I should consider to be a dereliction of my responsibility as a professor to show academic leadership. Continue reading

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The last piano factory (in England)

It makes me a little sad to hear that the last piano factory in the UK, Kemble’s in Bletchley, is closing today, with a loss of 90 jobs (and the skills they comprise). I visited this factory back in the mid-1980s when I was doing research for a film I never got to make on the social history of the piano (instead, it became a chapter in my book Musica Practica).

You might suppose that this closure is yet another sign of the recession, but in fact it reflects a much longer term trend, with the recession merely the last straw. Continue reading

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Curtocircuito

The task was not so easy. The participants in the workshop had to make a three-minute documentary in four days. The subject was Santiago de Compostela, where the workshop was held as part of Curtocircuito—ShortCircuit in Gallego—one of a number of new film festivals which have grown up in Spain, as in many other countries, in the last few years. Continue reading

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Soundtrack thoughts

I’ve recently caught up with Charles O’Brien’s splendid, paradigm-shifting book, Cinema’s Conversion to Sound, subtitled Technology and Film Style in France and the US. Briefly, O’Brien combines thorough research into primary sources and empirical methods of analysing film style to critique the conventional idea that the coming of sound produced a homogenisation of cinema which spread abroad from Hollywood in the 1930s. In particular, this is not what happened in France, which developed a strong predilection for what was called the film parlant—the talkie which used direct recorded sound—as opposed to the film sonore—the sound film where the sound was post-synchronised, which fast became the Hollywood way.

Of course it’s not quite so simple. Continue reading

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Cuba: untold stories

Back from the Cuba Research Forum event in Nottingham. Came away thinking once again, as many times before, that Cuba is a mass of paradoxes. A small country which punches far above its weight in international politics, in dire economic straights but ruled by a strong regime which still upholds the communist ideology. This regime, which now officially admits that people don’t earn enough to live on, has prioritised social welfare, and the country has seen no essential fall in its exemplary rates of life expectancy nor any rise in infant mortality compared to before the collapse of 1991. This is not say the system is not under strain, but these rates are among the best in the world. (Cuba’s infant mortality rate is actually lower than that of the USA; meanwhile, opponents of Obama’s health reforms protest, among other things, that covering 46m uninsured Americans will ‘cost too much’—in the richest country in the world.) Continue reading

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Detroit Again

Having made a film about Detroit a few years ago (Detroit: Ruin of a City), my attention is periodically caught by items about the Motor City, like this, over at One Way Street:

There’s probably no more emblematic set of images for this time of economic and ecological disaster than James D. Griffioen’s series of photographs, “Feral Houses.” The term “feral house” is perfect. Griffioen’s photographs, taken in and around Detroit, show the true, surrealist face of the American suburb: small plots of domesticated nature that have become neither nature nor culture.  Griffioen’s feral houses have no use value, exchange value–no value at all. They’re not even “green” in the ecological sense.

Griffioen photographed only houses; trees grow inside abandoned buildings in downtown Detroit as well. The entire city is turning feral.Detroit once furnished the sinews for the largest capitalist machine in the history of civilization, yet its viability lasted barely a few decades. The city came and went in less than a hundred years. Griffioen captured the city as it disappears.”

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End of the BFI as we know it?

Let’s have no illusions. It was probably inevitable. The government has announced plans for a merger of the BFI and the Film Council [UKFC]. As The Guardian has it, ‘The British film landscape could be facing its biggest upheaval in almost a decade…’ That is to say, since the Film Council was set up in 2000, to oversee and administer UK film policy, including responsibility for providing the BFI’s grant-in-aid. In all likelihood, what will happen now is the final subordination of the BFI’s cultural remit (which dates back to 1933) to the commercial interests that the Film Council effectively represents. Time Out has described the Film Council as ‘‘heavily geared towards optimising conditions for the commercial success of the British film industry’ (8-14 August 2007). As Ian Christie told the Independent Film Parliament, held in Cambridge in 2003, ‘The people running British cinema are not perceived as having a cultural stake in cinema at all, let alone a vision of British cinema per se. Rightly or wrongly, they are perceived as being in the pockets of the American majors, or at least their boutique divisions.’ Continue reading

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