So, it’s composed and it has these variations between these popular songs and opera arias and absolute music. There, where something seems to be accomplished — where you finally get to the essential moment of love, passion, distress, or whatever. Five Weird, Wacky, and Wonderful Films to Watch at Hot Docs, Wear Pink to Watch Feminists Read Mean Girls, Filed under film, The Death of Maria Malibran, Werner Schroeter. There is a line — I think it’s a quotation from Hamlet, about Ophelia, and it says something about “snatches of old tunes.” That, in a way, is the structure of the whole film. It is that what would normally be seen as an exception is no longer exceptional, it becomes the rule. What would be the equivalent impossible situation in the language or medium of opera? So there’s also the syncing, or lack of syncing, between the tragic and the comic. LYNNE JOYRICH: Thank you for programming this film, which was amazing, and for your comments. BEWES: Well, we haven’t yet mentioned the performers, such as Candy Darling . What leads to that, precisely, is repetition of the same, again and again and again. He sort of dreams or fantasizes about what it would mean for two eyes to touch one another, and he asks: would it be night then or would it be day? That had a very liberating effect upon me, because I much prefer Schroeter to Kluge and I thought it was a wonderful suggestion. Find many great new & used options and get the best deals for Eika Katappa /Death of Maria Malibran NEW PAL 2-DVD Set at the best online prices at eBay! SUZANNE STEWART-STEINBERG: Alex, when you were talking about the repetition compulsion that leads, in your opinion, to a kind of “abstraction” or “idealization” — these are the terms — but then you say, to “opera.” So, If I’m understanding correctly, you’re not saying it’s the abstraction that is the essence of opera, but that opera is that kind of abstraction. Large parts of the film have as backgrounds curtains, carpets, paint, backdrops. The image incorporates the sound. One answer would be that what the fairy tale alerts us to is that there is a difference between seeing with one’s eyes, as we normally do, and a kind of second vision. It is indeed a liberation from film music, from any inner diegetic need. Maybe one idea of the film is that that is what opera is all about. I also ask myself: why is there this fairy tale in the middle of the film? TIMOTHY BEWES: This film, which I am seeing for the first time this evening, reminds me a little of the work of Danièle Huillet and Jean-Marie Straub, in its performativity, but also in the radical disequivalence between the visual image and the sound image. But then when we are touched — often people say art “touches.” We are touched by art. So no. . How old is Maria Malibran: 28 years Female Birthday: March 24, 1808 Sun sign: Aries Nationality: Paris, France Death date: September 23, 1836. 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