- Category: News
As part of the making of the film "Orlando Wounded / Orlando Blessè" by Vincent Dieutre in Palermo, the Teatro Garibaldi Aperto, Sicilia Queer filmfest, the Institut français of Palermo and La Huit are pleased to invite you to
THE NIGHT OF THE FIREFLIES
by this occasion will be screened the world preview of the "Letter of Georges Didi-Huberman to the Sicilians" (a video interview in Italian language - 2012, 35 min. - with the French philosopher, author of the book "The Survival of the Fireflies: a politics of survival / La survivance des lucioles").
Garibaldi Theatre (via Castrofilippo 30, Palermo), Saturday October 6th, 2012, 9 pm - free admission - cocktail follows - the event will be introduced and videorecorded by the director Vincent Dieutre.
«Orlando wounded / Orlando blessè» is a film project that the French director Vincent Dieutre is carrying on for more than two years in Sicily, produced by "The Huit" in Paris. The shooting, which took place already in Catania, Messina and many other locations in Sicily, will be completed in Palermo on the occasion of this "Night of the Fireflies" at the Garibaldi Theatre.
From the production notes of "Orlando wounded":
In their small theater in Palermo, the puppets are bored since their emperor was relegated to the museum.
There's nothing more to do in Europe or in Italy and the fireflies, whose vanishing Pasolini already cried in 1975, seem to have completely desappeared.
A French film director lands in Sicily in search of some hope. Will its so fantasized Italy be saved by those living on the edge of society? Gradually the diary of his search for the survived fireflies, and the story of the meetings subverting it, mix with a wonderful puppet drama, in which the Prince of the Puppets, Orlando, is the wounded hero.
former student of IDHEC (Institute des Hautes Etudes Cinématographiques), and winner of the scholarship "Villa Medici Outside the Walls" in Rome, Vincent Dieutre has lived in New York and Rome before turning to cinema. Established author of many outstanding works on the relationship between cinema and contemporary art, he teaches in the Department of Cinema at the University of Paris VII. As a filmmaker he explores the "boundary between documentary and self-fiction" as in Lettres de Berlin (1988) and in his first two feature films, Rome désolée (1996), and Leçons de ténèbres (2000). For the series" Lucarne" of the tv network Arte he realized Bonne Nouvelle (2001). His latest film, Jaurès (2011), won the Teddy Award Grand Jury Prize at the last Berlin Film Festival, and had its Italian première in Palermo at the second edition of Sicilia Queer filmfest, where Dieutre was also a member of the international Jury.
born 1953 in Saint-Étienne, Georges Didi-Huberman is a philosopher, art historian, esthetician, and is particularly concerned with the visual anthropology with a strong propensity to reconstruct the paths of survival of the image and the psychoanalytic matrices who presided over the representation of the female body.
He teaches "Signs, forms and representations" at the Ecole des Hautes Études en Sciences Sociales in Paris. He has published about thirty works on the history and theory of images. He spent periods of studies in Rome (French Academy), Florence (Villa I Tatti-Harvard University Center for Italian Renaissance Studies), London (Institute of Advanced Study, Warburg Institute). He received the Hans-Reimer-Preis from Aby-Warburg-Stiftung in Hamburg. He has been the curator of several exhibitions, including "L'Empreinte" at the Centre Georges Pompidou (Paris, 1997) and "Fables du lieu" at the Studio National des Arts contemporains (Tourcoing, 2001). The warburgian inspiration, expressed in "Devant l'image. Question Posée aux fins d'une histoire de l'art" and in "Devant le temps. Histoire de l'art et anachronisme des images" (both Editions de Minuit, respectively 1990 and 2000), covers much of the last essays, many of which have have been translated into Italian: "Beato angelico. Figure del dissimile" (Leonardo, 1991), "Aprire Venere. Nudità, sogno e crudeltà" (Einaudi, 2001), "Sculture d'ombra. Aria, polvere, impronte, fantasmi" (Allemandi, 2002), "Ninfa moderna. Saggio sul panneggio caduto" (il Saggiatore, 2004), "Immagini malgrado tutto" (Cortina, 2005), "Gesti d'aria e di pietra. Corpo, parola, soffio, immagine" (Diabasis, 2006) e "L'immagine insepolta. Aby Warburg, la memoria dei fantasmi e la storia dell'arte" (Bollati Boringhieri, 2006), "Storia dell’arte e anacronismo delle immagini" (2007) e "La somiglianza per contatto. Archeologia, anacronismo e modernità dell’impronta" (2009).
In 2010 Bollati Boringhieri published the Italian translation of "Survivance des lucioles / The Survivance of the Fireflies" (2009), "Come le lucciole. Una politica della sopravvivenza": starting from Pasolini, a reflection of what remains of our past, on how we can preserve even what seems doomed to extinction. In his maybe most immediately political book, Georges Didi-Huberman captures exactly what Pasolini's despair prevented him to see: that barbarism does not proceed smoothly; that putting forth the ruin of all, obscures the glimmers that resist despite everything; and that closing oneself in the mourning for the archaic can paralyze the intelligence of the present; that our "now" is a construction of different times, from which the past can not be banished forever. Through a passionate confrontation even with Walter Benjamin and Giorgio Agamben, Didi-Huberman opens to an idea of survival. In this perspective, the decline is not a prelude to the anthropological catastrophe, but it is a vital resource. Its harmonics are the same of the falling atoms in Lucretius: inventing forms, by preserving "sparks of humanity."