Coniglio, Leoni & circostanze varie
Two cousins, precisely offscreen, with a digital camera pointed on a malfunctioning television screen record – with a commentary – some images taken from old 8mm films of their own family. The outcome is a video-letter, a metalinguistics experiment made on request for their friends Allaman, to be then sent to his far, never-met, Australian relatives. What comes out of it is an accidental, but vivid, critical interpretation about the nature of home movies, about the extraordinary intertwining of memory and present.
Luca Ferro, a thought on Coniglio, Leoni & circostanze varie
«It is not by chance, perhaps, that to classify the form of my work I had to come up with the new term of Private Cinema. When I carry out a video, I always hope that it can be interesting to the most people, however I am fully aware that, in order to appreciate it – as long as it’s worthwhile – the viewer must allow me/themselves a squandering of time that not all – provided they want it – can afford to spare, in whatever moment of their existence. Then, realistically, I do not strive for an audience, but if anything for a given number of spectators, whom I most willingly would name “videoreaders” if such a term didn’t take the chance to be misanderstood. Videoreaders meaning what? I’ll try to explain that: Coniglio, Leoni e circostanze varie can be fully deciphered only after a plurality of interpretations. But can I ostensibly demand from whomsoever such an availability? I don’t think so. At best, I can hope for my work to catch the démodé eye (or prémodé) of a viewer/reader, rather than come across the tank-sight of the spectator unidirectionally grinding the 25 frames per second, making use of the thinking break, with just the bethinking of previous signs, given a deviation of the text: that doesn’t hesitate, if need be, to break the flux of images to restart it from a previous point.»
Luca Ferro, observations via e-mail after the telecine made by Home Movies
« (…) the copy is new because part of the images composing the video are the outcome of a properly made telecine and not the result of a digitization process of a VHS tape (made in turn from a bad telecine). Hence, if the idea in the previous version was already all there and well structured in its unraveling in layers and planes able to amaze even the author (or, as I like to better consider myself: its midwife), in this version, new in a few moments even for the images used, it stands out better the material contrast between the 8mm quality of the sequences in full screen and the basic narrative structure (both audio and video) quite dismal, aesthetically-wise but abundant in grandeur and stimulus due to what we glimpse and make out of the sound.»
regia
Luca Ferro
running time
21'
film format
8mm and mini-DV
year
2009
Genre
Experimental
Country
Italy
Guarda i film e gli eventi della sezione Luca Ferro
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Three blocks of 8mm and single8 home films, shot twenty years apart from each other and digitally unified in one frame, they talk, now individually – now simultaneously (in a split screen) of the evolution of the private, cinematographic eye, of media and amateur techniques. Of the eternal flowing of generations, of the impertinence of memory and the fatal snare of nostalgia. The three creations are enhanced by the text of the letter with which Luca Ferro’s father, in 1935, then a young officer in Ethiopia, made first contact with his mother.
Luca Ferro on Impressioni a distanza and Private Cinema
«I consider this work as an exemplary case of making Private Cinema.
WIth Impressioni a distanza I got back an old creation (1976) and I reworked it using the tools of digital editing, reducing it as compared to the starting duration and enhancing it with the text of the letter with which my father, in 1935, young officer in Ethiopia, made first contact with my mother. I added even a sound track. I applied that which I have always believed in: that Private Cinema embraces those re-makes, those variants that the passing of time suggests, be it right or wrong, allowing the gaze to reposition its own look, to signify differently intuitions and previous feelings. Thirty years ago I was much more radical and abstract; less prone than today to the charms of memory and nostalgia.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The images that accompany Trascorrere con Laura have been mostly shot during Spring 1974: in a 2004 digitally reworked version more were added, superimposed, some taken from previous films, some from films of a few years later. In this final version, Luca Ferro added some frames, revealing the two different looks on Laura’s face. As an in-progress work, modifying and expanding at the varying of life experiences. Volatile, as the feeling towards those we love, when we spend an entire existence by their side. From the awareness of this mutability, there stems the need to imprint those moments, starting from the first waiting experience, of birth and nurturing of their first son. All of this filmed in its natural and unexpected “flowing”.
Luca Ferro, september 1st, 2021:
«Today, September 1st, 2021, twenty past six p.m. that I commence this text, it’s exactly 41 days, 15 hours, five minutes that Laura isn’t here. The images accompanying this creation of mine have been mostly filmed in Spring 1974. Then others, in a 2004 digitally reworked version, have superimposed, some taken from just earlier films, others from those of the following years.
In the farmstead next to the spring, which takes the centre of the scene, then lived Laura, recently-graduated psychologist, whom I had met the previous year. Together, as proved in the frames, we were facing our first experience of expecting, birth and rearing of a first child.
The shots at the wash-drinking trough didn’t come from a specific project, rather from the suggestion to juxtapose our own existences to the natural flowing of the water: a complex, but necessary, in-progress, natural and joyful.
We weren’t even twenty, what to say!
The title “Trascorrere con Laura” (“Going By With Laura”) came exactly from that “passing” experience in its double meaning: that of sharing “the time of days” but also some kind of conforming to the flow of life, letting trustfully go to a higher plan of which we ignored the “outcomes” and that nonetheless instinctively “pushed” us, not without ambivalence, within.
Then, in 2014 indeed, I sensed that the images of that present day already embraced the consequences of the previous past and the previews of a subsequent future which would reveal in the double form of a “miracle”, the birth of a child, and tragedy, the death of a very young and dear friend.
So, with the awareness of the maturity and the certainty that private audiovisual expression should embed those variations of the gaze that the filter of memory and the evolution of emotions both force upon us, without disowning or establishing a ludicrous hierarchy of “creations” in different times, I had prepared to adjust the previous work to my new perception.
Until today, 2021, in the occurrence of making those far images available to everyone for the first time, I add a few frames at the final part which reveal as then already two different expression of Laura’s face could bring forward the “deep truth” of a lived relationship, for five long decades, in the name of a recurring emotional swing, and still marked by a solid, aware, mutual, unlimited “passion”. Often desperately happy or conflictedely “in love”.
Constant in its precariousness.
Always mulishly demanding.
Which can be summed up in a single adjective: intense.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]A family research encircling Monferrato and Canavese in the decades over the end of the XIX and the beginning of the XX Century revolving around Erminio Ferro, founder of the facility of the same name in Cuorgné. The stories of the ancestors, in their infinite uniqueness, almost always end up looking similar: recovering them, or perhaps, more ostensibly, getting a reconstruction mostly imaginary can shed light posterity, both present and future, about the meaning of their lives but above all it can provide a credible reason for our being. The style trait, necessarily and knowingly non-professional, is framed in the logic and the thought of Luca Ferro’s Private Cinema.
Luca Ferro, observations about Inchiesta di famiglia
«It’s not the high professional quality of image and sound I’m interested in, as a matter of fact I’d rather, and it is a preference partly forced by my limits and still real, imperfection and that which I like to address as the nno-professional (a different thing as compared to Brakhage’s amateur-ness).
It is not just a trick to make a virtue out of necessity. In time I realized that it’s an added value, I mean it can be also considered as added value. In particular, when the waiver to the smoothness and to the pivotal layers defining professionalism both lead to highlight the immediacy of the video- and filmmaking practice, literally making the usual filters that (by standing in the middle) conceal the reality of the relation between that who films and that being filmed (in the double meaning of filmed person and footage), returning to the work, especially in such circumstances when personal involvement is at its peak, a representation which is also “self-ethnographical” and then, to some extent, a true “authenticity”, limited to when we can use such an adjective as compared to the alteration inherent to the audiovisual practice.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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from 8th to 27th October | online on the Archivio Aperto website - extra content
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Per l’esuberanza
appannavano i cristalli dell’auto in primavera.
Hai presente?
Allora..
Quando l’autunno apparteneva ad un altro pianeta.
Laura's face, in a moment of eternal and ephemeral complicity.
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Luca Ferro on Impressioni a distanza and Private Cinema
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WIth Impressioni a distanza I got back an old creation (1976) and I reworked it using the tools of digital editing, reducing it as compared to the starting duration and enhancing it with the text of the letter with which my father, in 1935, young officer in Ethiopia, made first contact with my mother. I added even a sound track. I applied that which I have always believed in: that Private Cinema embraces those re-makes, those variants that the passing of time suggests, be it right or wrong, allowing the gaze to reposition its own look, to signify differently intuitions and previous feelings. Thirty years ago I was much more radical and abstract; less prone than today to the charms of memory and nostalgia.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Trascorrere con Laura
di Luca Ferro - Attimi di vita, impressi nel loro naturale e imprevedibile “trascorrere”: Luca Ferro filma la moglie Laura, a partire da quella primavera del 1974.
In Private Cinema. Luca Ferro 08.10 / 27.10.2021
Inchiesta di famiglia
di Luca Ferro - Un viaggio audiovisivo alla scoperta delle radici della propria famiglia, tra scontro e sovrapposizione, in un intreccio tra immaginario e testimonianza vera.
In Private Cinema. Luca Ferro 08.10 / 27.10.2021
Hai presente?
di Luca Ferro - Contenuto extra. Il volto di Laura, in pochi secondi resi eterni.
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Luca Ferro on Impressioni a distanza and Private Cinema
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The images that accompany Trascorrere con Laura have been mostly shot during Spring 1974: in a 2004 digitally reworked version more were added, superimposed, some taken from previous films, some from films of a few years later. In this final version, Luca Ferro added some frames, revealing the two different looks on Laura’s face. As an in-progress work, modifying and expanding at the varying of life experiences. Volatile, as the feeling towards those we love, when we spend an entire existence by their side. From the awareness of this mutability, there stems the need to imprint those moments, starting from the first waiting experience, of birth and nurturing of their first son. All of this filmed in its natural and unexpected “flowing”.
Luca Ferro, september 1st, 2021:
«Today, September 1st, 2021, twenty past six p.m. that I commence this text, it’s exactly 41 days, 15 hours, five minutes that Laura isn’t here. The images accompanying this creation of mine have been mostly filmed in Spring 1974. Then others, in a 2004 digitally reworked version, have superimposed, some taken from just earlier films, others from those of the following years.
In the farmstead next to the spring, which takes the centre of the scene, then lived Laura, recently-graduated psychologist, whom I had met the previous year. Together, as proved in the frames, we were facing our first experience of expecting, birth and rearing of a first child.
The shots at the wash-drinking trough didn’t come from a specific project, rather from the suggestion to juxtapose our own existences to the natural flowing of the water: a complex, but necessary, in-progress, natural and joyful.
We weren’t even twenty, what to say!
The title “Trascorrere con Laura” (“Going By With Laura”) came exactly from that “passing” experience in its double meaning: that of sharing “the time of days” but also some kind of conforming to the flow of life, letting trustfully go to a higher plan of which we ignored the “outcomes” and that nonetheless instinctively “pushed” us, not without ambivalence, within.
Then, in 2014 indeed, I sensed that the images of that present day already embraced the consequences of the previous past and the previews of a subsequent future which would reveal in the double form of a “miracle”, the birth of a child, and tragedy, the death of a very young and dear friend.
So, with the awareness of the maturity and the certainty that private audiovisual expression should embed those variations of the gaze that the filter of memory and the evolution of emotions both force upon us, without disowning or establishing a ludicrous hierarchy of “creations” in different times, I had prepared to adjust the previous work to my new perception.
Until today, 2021, in the occurrence of making those far images available to everyone for the first time, I add a few frames at the final part which reveal as then already two different expression of Laura’s face could bring forward the “deep truth” of a lived relationship, for five long decades, in the name of a recurring emotional swing, and still marked by a solid, aware, mutual, unlimited “passion”. Often desperately happy or conflictedely “in love”.
Constant in its precariousness.
Always mulishly demanding.
Which can be summed up in a single adjective: intense.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]A family research encircling Monferrato and Canavese in the decades over the end of the XIX and the beginning of the XX Century revolving around Erminio Ferro, founder of the facility of the same name in Cuorgné. The stories of the ancestors, in their infinite uniqueness, almost always end up looking similar: recovering them, or perhaps, more ostensibly, getting a reconstruction mostly imaginary can shed light posterity, both present and future, about the meaning of their lives but above all it can provide a credible reason for our being. The style trait, necessarily and knowingly non-professional, is framed in the logic and the thought of Luca Ferro’s Private Cinema.
Luca Ferro, observations about Inchiesta di famiglia
«It’s not the high professional quality of image and sound I’m interested in, as a matter of fact I’d rather, and it is a preference partly forced by my limits and still real, imperfection and that which I like to address as the nno-professional (a different thing as compared to Brakhage’s amateur-ness).
It is not just a trick to make a virtue out of necessity. In time I realized that it’s an added value, I mean it can be also considered as added value. In particular, when the waiver to the smoothness and to the pivotal layers defining professionalism both lead to highlight the immediacy of the video- and filmmaking practice, literally making the usual filters that (by standing in the middle) conceal the reality of the relation between that who films and that being filmed (in the double meaning of filmed person and footage), returning to the work, especially in such circumstances when personal involvement is at its peak, a representation which is also “self-ethnographical” and then, to some extent, a true “authenticity”, limited to when we can use such an adjective as compared to the alteration inherent to the audiovisual practice.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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from 8th to 27th October | online on the Archivio Aperto website - extra content
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Per l’esuberanza
appannavano i cristalli dell’auto in primavera.
Hai presente?
Allora..
Quando l’autunno apparteneva ad un altro pianeta.
Laura's face, in a moment of eternal and ephemeral complicity.
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From 8th to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Three blocks of 8mm and single8 home films, shot twenty years apart from each other and digitally unified in one frame, they talk, now individually – now simultaneously (in a split screen) of the evolution of the private, cinematographic eye, of media and amateur techniques. Of the eternal flowing of generations, of the impertinence of memory and the fatal snare of nostalgia. The three creations are enhanced by the text of the letter with which Luca Ferro’s father, in 1935, then a young officer in Ethiopia, made first contact with his mother.
Luca Ferro on Impressioni a distanza and Private Cinema
«I consider this work as an exemplary case of making Private Cinema.
WIth Impressioni a distanza I got back an old creation (1976) and I reworked it using the tools of digital editing, reducing it as compared to the starting duration and enhancing it with the text of the letter with which my father, in 1935, young officer in Ethiopia, made first contact with my mother. I added even a sound track. I applied that which I have always believed in: that Private Cinema embraces those re-makes, those variants that the passing of time suggests, be it right or wrong, allowing the gaze to reposition its own look, to signify differently intuitions and previous feelings. Thirty years ago I was much more radical and abstract; less prone than today to the charms of memory and nostalgia.»[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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