Quote:
Tilda Swinton stars in a playful and ingenious cine-essay from art critic John Berger (Ways of Seeing) and author/filmmaker Timothy Neat.

Play.Me.Something.1989.AMZN.WEB-DL.DDP2.0.H.264.mkv

General
Container:  	Matroska
Runtime: 	1 h 9 min
Size: 	1.06 GiB
Video
Codec: 	h264
Resolution: 	960x480 ~> 960x640
Aspect ratio:  	3:2
Frame rate: 	25.000 fps
Bit rate: 	1 963 kb/s
BPP: 	0.170
Audio
#1:  	English 2.0ch E-AC-3 @ 224 kb/s

https://nitro.download/view/A763DFBF409B5BB/Play.Me.Something.1989.AMZN.WEB-DL.DDP2.0.H.264.mkv

Language(s):English
Subtitles:English (SDH)

The post Timothy Neat – Play Me Something (1989) first appeared on Cinema of the World.

Introduction
The Spectre of Hope is based on the latest work of photographer Sebastiao Salgado. Salgado spent 6 years traveling to over 40 countries, taking pictures of globalization and its consequences – most notably, the mass migrations of populations around the world. In the film, Salgado presents his remarkable photographs in conversation with John Berger.

362MB | 51m 49s | 720×540 | mkv

https://nitro.download/view/69B328B028B5F08/The.Spectre.of.Hope.2001.540p.WEB-DL.AAC2.0.x264-ZTR.mkv

Language:English
Subtitles:English

The post Paul Carlin – The Spectre of Hope (2001) first appeared on Cinema of the World.

John Berger: The Art of Looking
BBC Four
Sun 6 Nov 2016
10.30pm-11.25pm

Art, politics and motorcycles – on the occasion of his 90th birthday John Berger or the Art of Looking is an intimate portrait of the writer and art critic whose ground-breaking work on seeing has shaped ourunderstanding of the concept for over five decades. The film explores how paintings become narratives and stories turn into images, and rarely does anybody demonstrate this as poignantly as Berger.

Berger lived and worked for decades in a small mountain village in the French Alps, where the nearness to nature, the world of the peasants and his motorcycle, which for him deals so much with presence, inspired his drawing and writing.

The film introduces Berger’s art of looking with theatre wizard Simon McBurney, film-director Michael Dibb, visual artist John Christie, cartoonist Selçuk Demiral, photographer Jean Mohr as well as two of his children, film-critic Katya Berger and the painter Yves Berger.

The prelude and starting point is Berger’s mind-boggling experience of restored vision following a successful cataract removal surgery. There, in the cusp of his clouding eyesight, Berger re-discovers the irredeemable wonder of seeing.

Realised as a portrait in works and collaborations, this creative documentary takes a different approach to biography, with John Berger leading in his favourite role of the storyteller.

https://nitro.download/view/CE83E233F0A4FA6/John_Berger_or_The_Art_of_Looking_(6_Nov_2016).mkv

Language(s):English
Subtitles:English

The post Cordelia Dvorak – John Berger or The Art of Looking (2016) first appeared on Cinema of the World.

John Berger is a storyteller, essayist, novelist, screenwriter, dramatist and critic, whose body of work embodies his concern for, in Geoff Dyer’s words, “the enduring mystery of great art and the lived experience of the oppressed.”

He is one of the most internationally influential writers of the last fifty years, who has explored the relationships between the individual and society, culture and politics and experience and expression in a series of novels, book works, essays, plays, films, photographic collaborations and performances, unmatched in their diversity, ambition and reach. His television series and book Ways of Seeing revolutionized the way that Fine Art is read and understood, while his engagement with European peasantry and migration in the fiction trilogy Into Their Labours and A Seventh Man stand as models of empathy and insight.

John Berger in conversation with Michael Silverblatt at Berger’s home, a working farm, in Quincy, Mieussy, France, October 2002. Silverblatt is the host of the radio interview program, Bookworm.

https://nitro.download/view/DC854E84469487B/John_Berger_and_Michael_Silverblatt_Part_1.mkv
https://nitro.download/view/070271A043F36B4/John_Berger_and_Michael_Silverblatt_Part_2.mkv

Language(s):English
Subtitles:None

The post John Berger and Michael Silverblatt – Conversations 1 and 2 (2002) first appeared on Cinema of the World.

Exclusive material from writer, artist, critic John Berger and a virtual response and conversation with Noam Chomsky, Professor Emeritus of Linguistics and Philosophy at MIT. This event took place at Dartmouth College as part of GRID’s 2014 Spring Public Lecture Series: Times of Crisis

Note, Berger’s material is audio only and is accompanied by still images, and Chomsky is on a live video link in this session.

https://nitro.download/view/D664D39F3D1FA65/Times_of_Crisis_-_John_Berger_and_Noam_Chomsky_(22_April_2014).mkv

Language(s):English
Subtitles:None

The post John Berger and Noam Chomsky – Times of Crisis (2014) first appeared on Cinema of the World.

““Somebody dies,” says John Berger. “It’s not just a question of tact that one then says, well, perhaps it is possible to tell that story,” but “it’s because, after that death, one can read that life. The life becomes readable.” His interlocutor, a certain Susan Sontag, interjects: “A person who dies at 37 is not the same as a person who dies at 77.” True, he replies, “but it can be somebody who dies at 90. The life becomes readable to the storyteller, to the writer. Then she or he can begin to write.” Berger, the consummate storyteller as well as thinker about stories, left behind these and millions of other memorable words, spoken and written, when he yesterday passed away at age 90 himself.

This conversation aired 35 years ago as “To Tell a Story,” an hourlong episode of Channel 4’s Voices, “a forum of debate about the key issues in the world of the arts and the life of the mind.” Though Berger and Sontag surely agreed in life on more than they disagreed (“not since [D.H.] Lawrence has there been a writer who offers such attentiveness to the sensual world with responsiveness to the imperatives of conscience,” the latter once said of the former), they here enter into a kind of debate about storytelling itself: why we do it, how we do it, when we can do it. Berger, for his part, characterizes all fiction as “a fight against the absurd,” against “that endless, terrifying space in which we live.”

Sontag, in the words of Lily Dessau at Berger’s publisher Verso, “considers the storyteller as inventor, in control of the material, out of which the ‘people come.’ Berger conversely takes the form of the story as the result of the language coming out of the people — but he does characterize their differing views as arriving at the same place — the scene of the text.” While both of them wrote fiction as well as essays, “Berger considers the story and essay in one breath, both as a form of struggle to model the unsayable,” while “for Sontag the two are entirely separate, although the struggle persists in both.”

Or, as Berger puts it in highlighting another aspect of the difference in their perspectives, “You say you want to be carried away by the story. I want the story to stop things being carried away into oblivion, into indifference.” The many tributes already paid to him, especially by influential creators formed in part by the influence of his work, indicate that Berger’s legacy hardly finds itself now on the brink of an indifferent oblivion. Now that his long life has reached the end of its final chapter, well, perhaps we can begin to read, and to tell, his story.”

https://nitro.download/view/FD73F55488BC587/John_Berger_and_Susan_Sontag___To_Tell_A_Story_(1983).mkv

Language(s):English
Subtitles:None

The post John Berger and Susan Sontag – To Tell A Story [Voices] (1983) first appeared on Cinema of the World.

When, in 1947, a portion of Punjab province was assigned to the newly created
Pakistani State, Albert Mayer began planning a new capital for the portion which
remained in the possession of India. Le Corbusier had been responsible since the
1950s for general planning and, more particularly, for large-scale buildings typical
of the governmental sector. A year after the death of Le Corbusier, Alain Tanner
began shooting his film in a city still partially under construction, or even, in certain
places, at the planning stage. The inhabitants of the metropolis, however, already
numbered some 120,000.

Among the most modern of cities architecturally, Chandigarh was archaically
constructed by hand. Impressions of this green horizontal city-brick not permitting
vertical development-are captured in long static shots and numerous traveling shots.
John Berger’s commentary inscribes the visual beauty of that reality within a larger
reflection: climate did strongly influence the decisions of the planners, whereas the
new city did not succeed in breaking the old social rules with a single blow. These
rules continue to determine the level of education and income, and it is not even
possible for these workers who are in the process of constructing Chandigarh to
live in it themselves.

However, the film partakes of Le Corbusier’s optimism in its appreciation of architecture
as an instrument aiding men to clarify their visions, to exercise their powers of
discernment and to establish new relations, even if the results will only make themselves
felt in the long term.

1.68GB | 54m 40s | 694×568 | mkv

https://nitro.download/view/CD8D09620A718E4/Une.ville.a.Chandigarh.AKA.A.City.at.Chandigarh.1966.DVDRip.AC3.x264-LAA.mkv

Language:French,English
Subtitles:English,German

The post Alain Tanner – Une ville à Chandigarh aka A City at Chandigarh (1966) first appeared on Cinema of the World.