Social Robots

Tati was fascinated by the collision of modernity with a dying world he had a lot of tenderness for, full of innocence, unproductive, lazy and contemplative. The whole dynamic of Mon Oncle is based on that.
Frame by the Jaques Tati film "Mon oncle"

hey my anti heroes!
here the list of film clips I showed today
01_fight_club_soap alias
02_amelie_tv_vei alias
03_videodrome_casste_breathe alias
04_one_hour_photo_restaurant alias
05_mon_oncle_hulot_cuina alias
06_fight_club_IKEA alias
07_mon_oncle_dona_cuina alias
08_mon_oncle_porta_parking alias
09_mon_oncle_soroll_electrodom alias
10_fith_element_wake_up alias
12_mon_oncle_toves_jardi alias
13_fight_club_owning_you alias
14.5_videodrome_first_tv_kiss alias
14_videodrome_tv_show alias
15_videodrome_video_library alias
17_videodrome_tape_panxa alias
18_videodrome_tecnic_explode alias
18.5_amelie_video_random alias
18.6_amelie_death_on_tv alias
20_one_hour_photo_wall alias
23_the_professionals_must_die.mov alias

Workshop at MID-Ecal (Switzerland) Dec 2003

hello my self_made boys and girl!
here the list of self_referential films I presented today
hope you enjoy today’s bonus tracks:)
r

Workshop at MID-Ecal (Switzerland) Dec 2003

For this film session I used self-referential films where the screenplay and the film medium is part of the storyline. Fellinis “8 1/2”, “Adaptation” from Spike Jonze, “Memento” or “Timecode” are just few examples where the technology of filming or editing becomes the main character of the film.

01_adaptation_malcovith alias.mov
02_adaptation_off_voice_start alias.mov
03_8 half_room_think alias.mov
04_adaptation_start.mov alias
05_8_half_clacke alias
06_adaptation_recording_earth alias
07_adaptation_earth alias
08_8_half_wife_inferno alias
09_adaptation_self_record alias
10_adaptation_bed_bro_talk alias
11_adaptation_writting_class alias
12_8_half_casi final alias
12.5_8_half_final alias
13_memento_hotel_guy alias
14_timecode_russ alias
16_the_professionals_SMM_long.mov alias

I mentioned this little story yesterday
Workshop at MID-Ecal (Switzerland) Dec 2003

Think of this: when they present you with a watch, they are gifting you with a tiny flowering hell, a wreath of roses, a dungeon of air. They aren't simply wishing the watch on you, and many more, and we hope it will last you, it's a good grand, Swiss, seventeen rubies; they aren't just giving you this minute stonecutter which will bind you by the wrist and walk along with you. They are giving you - they don't know it, it's terrible that they don't know it - they are gifting you with a new fragile and precarious piece of yourself, something that's yours but not a part of your body, that you have to strap to your body like your belt, like a tiny, furious bit of something hanging onto your wrist. They gift you with the job of having to wind it every day, an obligation to wind it, so that it goes on being a watch, they gift you with the obsession of looking into jewellery-shop windows to check the exact time, check the radio announcer, check the telephone service. They give you the gift of fear, someone will steal it from you, it'll fall on the street and get broken. They give you the gift of your trademark and the assurance that it's a trademark better than others, they gift you with the impulse to compare your watch with other watches. They aren't giving you a watch, you are the gift, they are giving you yourself for the watch's birthday.

Preamble To The Instructions On How To Wind a Watch
Julio Cortázar, from Cronopios and Famas (original in spanish)