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EYES THAT REFUSE TO CLOSE. THE PERSISTENCIES AND RESISTANCES OF THE GAZE IN THE HISTORY OF CINEMA

16 November 2016 - 31 May 2017

EYES THAT REFUSE TO CLOSE. THE PERSISTENCIES AND RESISTANCES OF THE GAZE IN THE HISTORY OF CINEMA

The history of humanity is also the history of the gaze. From the light of the stars to the shadows of caves, human beings have always tried to see further, to go beyond their everyday reality. And with their insatiable scopipc impulse, with their resistance to close their eyes, illusion, dreams and fantasy were also born: desire, in one word.

This course is a brief and partial history of the gaze through films and filmmakers who refuse to close their eyes, who rebel and reveal to us new ways of seeing and showing, thus enlarging our imaginarium. From Alfred Hitchcock to Werner Herzog; from Andrei Tarkovski to Terrence Malick; from the melodrama of the 1940s to the thrillers of the 1970s; from Jean Vigo, Jean Epstein and Jean Cocteau to the experimental cinema of the 1960s; from Yasujiro Ozu to John Ford, from Jacques Rivette to Chantal Akerman, from M. Night Shyamalan to Kiyoshi Kurosawa or from Dziga Vértov to Luis Buñuel, who cut through the public's innocent gaze with the legendary image of a blade slicing an eye.

These sharp gazes, that are slit open, are the gazes we will seek in this course; gazes that, on occasions, were paradoxically veiled or forgotten by the official historiography and which are those that we will officially try to put in the spotlight. As Jean-Luc Godard said in his Histoire(s) du cinéma, “cinema never aimed to produce an event, instead, and most importantly, it aimed to produce a vision.”


Wednesday from 7:00 pm to 8:30 pm


16 November. The camera's eye (or cinema as a scopic impulse)
23 November. Luis Buñuel's blade
30 November. Between one image and another: the sentimental syntaxis of cinema
14 December. Between a sound and an image: audiovision
21 December. Distant observers: filmmakers journeying in search of the East
11 January. Terrence Malick, visions of the absolute
18 January. Cinematographers: cinema and light
25 January. Images under the skin: autobiography in cinema
1 February. The active gaze of modernity: from Charles Baudelaire to Chantal Akerman
8 February. The ground zero of the gaze: Nobuhiro Suwa, Hiroshima's filmmaker
15 February. Portraits of an obsession: La belle noiseuse (Jacques Rivette, 1991) and The Quince Tree Sun (Víctor Erice, 1992)
22 February. Werner Herzog, the testimony of the apocalypse
1 March. The sublime and the sinister in the work of M. Night Shyamalan
8 March. Spectral visions in the North American melodrama of the 1940s
15 March. We, the ghosts: the cinema of Kiyoshi Kurosawa
22 March. The three-sided mirror I. Jean Epstein (1897-1953)
29 March. The three-sided mirror II. Jean Vigo (1905-1934)
5 April. The three-sided mirror III. Jean Cocteau (1889-1963)
19 April. Revelations (and melancholy) on form in the cinema of Yasujiro Ozu and John Ford
26 April. The ‘Birth’ of Víctor Erice
10 May. The opaque screen: the North American thriller of the 1970s
24 May. José Luis Guerín and the shadows of that which is real
31 May. Trompe l'oeils and mirages in comedy


José Manuel López (Vigo, 1974)
He is the holder of a BA in Advertising and Public Relations, and at present reader of a PhD in Communication at the University of Santiago. In 2004 he founded the online cinema magazine Tren de sombras and he is currently a member of the board of writers for the magazine Caimán Cadernos de Cinema (previously known as Cahiers du Cinéma. España).
In 2011 and 2012 he worked as a dialogue writer for the fourth and fifth seasons of Matalobos, a series that the producer Voz Audiovisual developed for Televisión de Galicia.
Since 2012 he has collaborated with MARCO in Vigo and since 2014 with the CGAC in Santiago delivering cinema courses. He has also participated in teaching seminars and delivering conferences in various venues all over Spain.
In 2008 he published the book Naomi Kawase. El cine en el umbral for the International Film Festival of Las Palmas de Gran Canaria. He has participated in group books such as La risa oblicua. Tangentes, paralelismos e intersecciones entre documental y humor (Documenta Madrid), Elegías íntimas. El cine visto por los cineastas (Documenta Madrid), Un extraño entre nosotros. Las aventuras y utopías de José Luis Borau (Filmoteca de Extremadura) or Paul Schrader. El cineasta frenta a los tiempos (Seminci. Festival de Cine de Valladolid).
He has collaborated in specialised magazines such as Secuencias, Transit, Blogs & Docs ou Nosferatu and with DVD editing companies such as Intermedio or Cameo.


DIRECTOR: José Manuel López

COORDINATOR: Virginia Villar

ADDRESSED TO: Teachers, students and averyone interested in the subject.

SEATS: 250

REGISTRATION: From 15 June to 16 November 2016.
Those interested in participating can register by sending an email to cgac.educacion@xunta.es specifying their full name, Id. No., studies, field of work or interest, and contact email address and telephone number.
Once the application has been accepted, participants will receive information as to how to pay for the registration fee.
FEE: early bird registration (15 June - 31 August): 70 € / Normal registration (1 September - 16 November): 80 € / Members of Cineclube Compostela: 65 €

CERTIFICATION: The CGAC will issue a certificate of attendance to everyone who attends at least 75% of the course.

COLLABORATOR: Cineclube de Compostela
Rúa Valle Inclán, 2
15703 Santiago de Compostela
Spain
Ph.: (+34) 981 546 619
Fax: (+34) 981 546 625
cgac.xunta.gal