[February 17, 1600]

 

I owe this post to the memory of Giordano Bruno. By chance i found myself, still sick and film-eater, watching a movie about him in the same day in which he was burnt at the stake: the 17th of February 1600.

Giordano Bruno (1973) by Giuliano Montaldo, with Gian Maria Volonté. It chronicles the last years of life of the philosopher from 1592 to his killing in 1600.

A little taste of it, a conversation between Giordano Bruno (left) and Giovanni Mocenigo, noble of Venice (right).

Your philosophy is very easy.

Philosophy is never easy!

Shut up.
Get out of my house!
I hope you’ll be able to teach
me your philosophy someday,
if you have the time.

Slowly, slowly… slowly, slowly!
You have to make an effort.

An effort?
To get what in exchange?

To get everything or nothing: it
depends on how you look at things.
The philosopher, even though he owns
nothing, is the master of his own destiny.
He’s the master of his own destiny.

I’ve been taught that
the virtue you talk about
grows from faith, and
not from philosophy.

I know, my friend, I know…
I know by heart that kind of talk,
the one they’ve always used with us,
in the cradle, in school
and then from the pulpit:
be poor in spirit, be humble.
Give up your reason,
turn that dazzling light off, the one
that sets your intelligence on fire,
the one that consumes you, because the
more you know, the more you’ll suffer.
Give up your senses. Be a
prisoner of the Holy Faith.
Go on living in your asinine state.
Living like this, is living as if dead!

There are moments when you
and your theories scare me.
I’m thinking about the chaos
that might ensue if everybody,
even servants, boatmen, the people
you wanted to bring into my house,
the poor, start thinking
like you want them to.

There are people that live
in comfort like you do,
and other men that are
forced to tighten their belts,
but all men are equal,
and all men have the right
to look straight up…
at the sky, where the
sun of truth shines down.
Even boatmen and servants.

Directed by Giuliano Montaldo right after Sacco e Vanzetti, the movie tries to conciliate its ideological value with the spectacle demands, largely succeeding, though it falls in some historical inconsistencies. For example, Giordano Bruno appears in the movie as a good-looking man that is successful with women, while in the biographical and autobiographical sources we know that, on the contrary, the filosopher from Nola was a short man with a mediocre appearance and he was never succesfu with women, as he used to moan about.

>> pretty italian final:

Dopodiché, alla ricerca della traduzione di “successo con le donne” mi sono imbattuta in un pezzo di uno spettacolo di Gaber
 sulla donna:

e la conseguente e recente recitazione della stessa da parte di Luciana Littizzetto in Che Tempo Che Fa nella Puntata speciale G di Gaber del 21 gennaio di quest’anno.

Levando il contesto, e comparandoli, mi viene da pensare che quel discorso fatto da un uomo, e lo stesso fatto da una donna, hanno un effetto diverso su di me. Non avendo basi femministiche appropriate ne’ consistenti, concludo velocemente e superficialmente ipotizzando che un femminismo sarebbe di maggiore impatto se fosse portato avanti da uomini, più che da donne lesbiche. La immagino come una sorta di autoriduzione per l’elevazione dell’altro.

(il lesbica, ovviamente, non è riferito alla littizzetto, e né vuole esprimere giudizio spregiativo o accusatorio, ma è frutto di uno scambio di conoscenze con chi sta studiando il femminismo più da vicino)

In parole simili al signor G, ma andando proprio oltre la distinzione di uomo e donna ma trattando l’essere umano in generale,  l’Altro avvalora l’Uno, l’Uno avvalora l’Altro. Da soli sono poco, e a volte niente.

Bisognerebbe solo mettersi d’accordo, ecco.

from: wikipedia, youtube, me.

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pills for a real flu

 

Locked in the house for, finally, a real flu, I could swim and jump from a movie to another, a pleasure and pointless time.

On Social Metamorphosis by Luigi Coppola, 2012


Realized on the frame of the exhibition “Enacting Populism in its Mediæscape” curated by Matteo Lucchetti at Kadist Art Foundation – Paris.

“On Social Metamorphosis” springs from a collaboration between Luigi Coppola and the Belgian economist and antropologist Paul Jorion. Starting from a section of the famous blog of the latter, the two have worked on a text that gathers the propositions written by visitors of the blog, that collectively participated in the creation of a « realist utopia » – as the title of the section recites – together with texts by Louis Antoine de St Just, John Maynard Keynes and Franklin Roosevelt. The blog users were invited by Jorion himself to suggest their own ideas about the economical crisis and the subsequent crisis of democracy. Coppola staged this new script through the structure of the classical greek choir, so as to articulate a parallelism of demands and propositions around the issues raised in the text. While the figure of the hero/leader is absent, the voice of the choir, here interpreting the so-called “people”, is empowered by the use of neutral masks.

Riprendimi di Anna Negri, 2008

Three-weeks shooting with DVCam in Piazza Vittorio, Rome. It’s a very cheap mockumentary. Willing to make a documentary around the figure of the temporary employee (aka precario), two documentarists break in the life of a couple with a kid exactly when they break up, ending up to shoot the end of a love story in the contemporary age, a way to look at the instability of life in general?

{pointless + funny + simple + nice the idea of ​​the “chorus” of friends}

The director is the daughter of Toni Negri, an Italian Marxist sociologist and political philosopher. Condemned to 12 years of prison (crimes: armed band, subversive association and participation, in terms of moral complicity, to the robbery of Argelato where the police sergeant Andrea Lombardini died), member of the Radical Party, fugitive in France etc etc.

Chiapas, Mexico – meanwhile someone sent me to have a look to what the campesinas in Mexico did and were doing, and i found this on youtube:

the 1998 documentary A place called Chiapas, Eight Months in the Zapatista Uprising. The director Nettie Wild takes the viewer to rebel territory in the southwestern Mexican state of Chiapas, where the EZLN live and evade the Mexican Army.

 

Here there’s an interview to Subcomandante Marcos about university. It sounds very familiar.

 

University was a large corral for the domestication of youth. It was also a place where the youth refused to be domesticated and there was a lot of rebellion and organization.

In general, this was the problem with student movements: that their horizon was the classroom.

I found this in the Enlace Zapatista website: “Carta gráfica del Sup a los críticos chafas”, 8 de enero del 2013.

subcomandante marcos_car-color

in the same article (from Enlace Zapatista website) they suggested to listen to this Zombilaridad, that is a pitorreo of Solidaridad.

 

Another intersting extract from a document in Enlace Zapatista website:

from  Them and Us, Part V. – The Sixth.

Our analysis of the functioning, strengths, and weaknesses of the dominant system has led us to believe and to emphasize that unified action is possible if we respect what we call the “modos” [manner, way of doing things] of each of us.
And these things we call “modos” are nothing but the knowledges that each of us, individual or collective, have of our own geography and calendar. That is, of our pains and our struggles.
We are convinced that any attempt at homogeneity is no more than a fascist effort at domination, regardless of whether it is hidden in revolutionary, esoteric, religious, or any other language.
When one speaks of “unity” they elide the fact that such “unity” occurs under the leadership of someone or something, be it individual or collective.
On the false altar of “unity,” not only are differences sacrificed, but the survival of all of the small worlds under the tyranny and injustice is obscured.

(…)

Batallaremos.

Resistiremos.

Lucharemos.

Moriremos tal vez.

Pero una, diez, cien, mil veces, siempre venceremos siempre.

Por el Comité Clandestino Revolucionario Indígena-Comandancia General del

Ejército Zapatista de Liberación Nacional

La Sexta-EZLN.

Subcomandante Insurgente Marcos.

Chiapas, México, Planeta Tierra.

Enero del 2013.

And to end about this topic i found this video, Subcomandante Marcos without his mask:

 

– going back to Toni Negri, then I started jumping from people to people that had a common meeting point on the figure of Giuseppe Pinelli.

Giuseppe Pinelli (1928-1969) was an Italian railway worker and anarchist activist, who died in the custody of Italian police in 1969 after being arrested for interrogations around the Piazza Fontana Bombing of three days before. He was seen falling/suiciding/thrown from the window of the police station. On his death, a feature film in two episode was made by Elio Petri and Nelo Risi.

The episode by Elio Petri (Ipotesi su Giuseppe Pinelli o Tre ipotesi sulla morte di Giuseppe Pinelli, 11′) is ironical about the three versions that the police gave on the “suicide” of Pinelli, each of them reconstructed following the different and contradictory information given by the police station, with the aim of demonstrating to which level those declarations were describing a practically impossible volontary or accidental fall from the window of the anarchic guy. This episode was made in collaboration with the actors Gian Maria Volontè, Luigi Diberti e Renzo Montagnani. (I strongly suggest the first episode, cause the second episode has a terrible audio and I couldn’t follow)

Gian Maria Volontè (1933-1994) is an actor that i really liked in Sacco e Vanzetti (his/Vanzetti’s final speech in front of the court, here). I didn’t know anything else about him, and I discovered that he became famous through the mid-60s spaghetti western movies by Sergio Leone and then in the 70s he decided to work for a most politically engaged cinema.
The first one, the one i saw, is Investigation of a Citizen Above Suspicion, 1970, directed by Elio Petri, the same director of the episode on Giueppe Pinelli. It is a dramatic, psychological, black-humoured satire on corruption in high office, telling the story of a top police officer, played by Gian Maria Volonté, who kills his mistress, played by Florinda Bolkan, and then tests whether the police would charge him for this crime. During the movie, he is seen planting obvious clues while the other police officers ignore them, either intentionally or not.

Great movie, and for Gian Maria Volonté: bravo! and very nice music by Ennio Morricone.

then I passed to

Manu Chao (1961-) is a French singer of Spanish descent. He sings in French, Spanish, English, Italian, Galician, Arabic and Portuguese and occasionally in other languages.

but I just leave here a quote that caught me:

“La Mano Negra” is also a common expression in Spanish to say, “Aquí hubo mano negra” (“There was a black hand here”) to say that someone with authority, in a particular event, manipulated things illegally for its benefit. The expression is also used sometimes as a name for illegal employment.

and two songs that i didn’t know before:

1. Me llaman calle, 2004, written for the Spanish film Princesas

 

2. Le mille paillettes, from the 2004 album Sibérie m’était contéee

 

so warm, so simple.

 

[unexpectedly, i went through different matters that, each of them in different ways, touch the figure of the chorus, the choir]

 

 

from Wikipedia, Enlace Zapatista, YouTube, Kadist Art Foundation, TrovaCinema, IMDb and with the help of que-significa.com, GoogleTranslate, wordreference.com