Public date: 2010-06-14

When talking about Brecht’s playwriting it is not that easy to just focus on a specific body of work or a stylistic unity. Brecht’s playwriting reach goes way beyond art and drama. Actually, Brecht’s language is based on a series of representational devices that put into question not just specifically artistic processes, but also the social and the political context. Brechtian drama can encompass aesthetic thought and historical action simultaneously, and although Brecht’s theatre is not originally conceived as a philosophical system –despite all the influence it might have had in the poststructuralist tradition—it does work as a method.1 It is worth noting, though, that when talking about the ability of the brechtian method to spread out its transformative potential towards the “real” we are not pointing out that artistic practice should assume a purely utilitarian tenor. Understanding the transformative potential of artistic languages involves a conscious and consistent use of the artifices and artefacts constructing fiction. Or to put it in other words, the aesthetic dimension of art can question other aspects that constitute and legitimate a wider cultural or political system.

Alexander Kluge (Halberstad, 1932) is a writer and film director, that has produced both cinematic and television work. He studied Law, History and Music in the universities of Marburg and Frankfurt, graduating in Law in 1956. Working in close collaboration with Theodor Adorno and the Frankfurt School, he also worked as an assistant for Fritz Lang (1958). As one of the founders of The Oberhausener Group, Kluge’s influence was crucial for the New German Cinema of the following decade (Werner Herzog, Harun Farocki, Reiner Weiner Fassbinder…). In this article I will trace some connections between Brecht’s playwriting and Alexander Kluge’s filmmaking, paying especial attention to how the latter’s practice is significantly based on the idea of recycling Modernist imaginaries –not just Brecht, to whom he makes direct allusion, for instance, in Part Time Work of a Domestic Slave, but also to sources of early twentieth-century cinema and documentary. Besides that, I will point out how Kluge’s filmmaking tries to recover the programmatic character of modernity, in terms of intertwining his artistic practice with some aspects of avant-garde.

A circunstância do meu envolvimento no seio da Prevenção do Cancro autoriza-me a uma reanálise destas questões e um renovado interesse pelas possíveis soluções, à luz do confronto da própria experiência no sector com o auspício directo de reputados médicos e sociólogos. Mediante a OMS que previu, recentemente, uma duplicação do cancro para as próximas duas décadas e o presidente do Colégio de

One place. A thousand sensations!

Une caméra développant la « traversée des apparences » des faciès grimaçants, en plein coeur du cinéma muet, c'est le pouvoir absolu d'un soupire malin ou ridicule, d'un sourcil ou d'une bouche qui se crispe, d'un regard (la stratégie des regards) engoissé ou obsessionnellement redoutable. C'est aussi une prestation historique - de l'acteur - particulièrement guignolesque forçant

Enjoy the Show Personalized Cinema and Lounge Design SVG, PNG, JPEG, CDR, EPS, PDF, DWG, and DXF files for CNC plasma cutting machines, waterjet, laser cutting, routers, vinyl cutting/plotters, prints, etc. Products including (but not limited to) metal art, signs, woodworks, vinyl decals, t-shirts, stickers, illustrative prints, artwork, home decor, marketing, and website images.

Ultimate Cinema Design SVG, PNG, JPEG, CDR, EPS, PDF, DWG, and DXF files for CNC plasma cutting machines, waterjet, laser cutting, routers, vinyl cutting/plotters, prints, etc. Products including (but not limited to) metal art, signs, woodworks, vinyl decals, t-shirts, stickers, illustrative prints, artwork, home decor, marketing, and website images.

In 241 BCE, Carthage is ruined by its war against Rome, and faced with a rebellion from its mercenaries. This is when Matho, a mercenary, falls in love with Salammbo, the daughter of the master of Carthage. Two years of a savage war and political machinations will put the mercenaries, Carthage and that love to the ultimate test.

Lazo Sangriento_Lashgimm El Galupo1 (Nacho Espejo) CAPELLA + LETRA Compositor, Letrista, Guionista y Cantante: Nacho Espejo Estilo de Nacho Espejo: Theater Symphonic Metal (El Teatro de Metal Sinfónico)

El Objetivo de Eksram_Sed de Sangre1 (Nacho Espejo) LETRA Compositor, Letrista, Guionista y Cantante: Nacho Espejo Estilo de Nacho Espejo: Theater Symphonic Metal (El Teatro del Metal Sinfónico) Creado por Él mismo

El objetivo de Eksram_Sed de Sangre1_Nacho Espejo (Sin Radio Teatro) Compositor, Letrista, Guionista y Cantante: Nacho Espejo Versión sin Radio Teatro Estilo de Nacho Espejo: Theater Symphonic Metal (El Teatro del Metal Sinfónico) Creado por Él mismo.

Full screenplay of 'Opera Prima', written by Joan Paüls Vergés in Spanish at September 2020. Sinopsis: Pitu, a television camera man, arrives to the football field in a regular job day. Today, though, is different. He has a gun hidden inside the camera and, while the game is running with the stadium packed, he threats the president of the home club to pay him 3 million euros. Otherwise, he will start killing people, beginning for the players. What is willing to sacrifice each of them? Who is going to win the clash?

Una pieza inspirada en la cinematografía de Hitchcock, imaginando a un asesino

Cantinflas drawing