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The orchard of peaches, Akira Kurosawa



Akira Kurosawa, Japón.1910-1998.
From film "Dreams."

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"I am a child and I speak as a child" by Ingmar Bergman

I am a child. I said once: my creative life comes from my childhood. And emotionally I am a kid. The reason why people like what I do or did is because I am a child and I speak as a child.

When someone write my life, then it may look, in fact, all my creativity is decidedly childish, based on my childhood.

Within a second I can travel to my childhood, magical places, as I have used in Fanny and Alexander. I think everything I've done, and has some value, has its roots in my childhood. Or in the dialectic, a dialogue with my children. I have never taken away from my childhood but I have conducted an ongoing dialogue with her ( fragment and nterview with Jörn Donner).

Most of our education was based on concepts such as sin, confession, punishment, forgiveness and mercy, specific factors in the relationship between parents and children, and with God. So the punishment was something quite natural, something that never questioned. Some were quick and easy as slapping and spanking in the ass, but could also take very sophisticated ways, perfected over generations. If Ernst Ingmar pis was done, what was happening too frequently and easily, had to carry the day a red skirt that reached to his knees. This was considered harmless and laughable.

The "crimes" were punished more serious first with the isolation, no one spoke or answered. After shaking palette brought rugs and self had to say how many lashes he believed deserved. Once the quota, grabbed a pillow green, very filling, they lowered their pants and underwear, laid them face down on a pillow, someone Firmly holding the neck of the robber and gave spanking.

said: 'Understand that I do this because I love you. Kiss my hand and ask for forgiveness. " One was that Serta humiliated to the core.


sorpredió I always that my mother, who was so powerful in all situations, never intervened in these ritual punishments ( He writes in his memoirs).

A Sometimes at night, when I'm on the border between sleep and wakefulness, I can go through a door to my childhood and everything is as it was then, with the lights, smells, sounds, and people .. . I remember the silent street where my grandmother lived, the aggressiveness of the adult world, the terror of the unknown and fear of tensions between my father and my mother ( snippet of the interview with The New York Times) .

Photo: "Fanny and Alexander" film I. Bergman. The small Ingmar with his brother and grandmother.

Ingmar Bergman, Sweden. 1919-2007

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The white dress by Paul Makovsky

Isis Milanese invited my daughter Elena to a photo shoot with her dress white. It is a dress of Isis journeyed children and the next photographing women: "What we intend to show are the different forms and qualities of several women of different ages using the same dress, "he writes, and" Object of sensuality. The dress functions as a frame and body for support. "

I do not know what to say about these photos. Or rather, all I can say the pictures say it best, and perhaps prefer to keep quiet, mature.

But something happens to me: they are not portraits, however, I always see this face. As if there were photographically way to approach a person outside of the face (and photographic approach "Love" should be added.)

quote one paragraph and the end of The desert and the seed of Jorge Baron Biza : "The face is to receive the others get whatever is on the face, eye, ear, mouth and down the cheek, which receives the blows. The face is so that men can get to know each other. Therefore it is sacred ... because it is the Other. People should make your face the cradle of love. Just face the truth when there is a will to want; if you love your neighbor's face turns into a steak, something scary. "

The analysis of Russian icons Jesuit priest Alfredo Sáenz, as in the exegesis of the painting angelic Fra Angelico of Hans Sendlmayr , the faces of the paintings, stylized and childlike, they are there to welcome and take him looking elsewhere, take it with a new face: look at those pictures is also subject to the influence of the eyes of a child or doctrine. Soviet filmmaker Sergei Eisenstein , not unaware of the iconographic heritage of Kiev, wrote that a close (ie, making the face in a film) should be an emotional short film .

Isis not always picture his face but there are beautiful shots of the face of Helena, but Helena in the white dress. But what Isis Photography, after all, is the face on the dress.

The white dress is not only covering my daughter, but what he taught me. As a detachment of the portrait, which is form and theory, these images are also what has to question the face and mask, how much of Elena I get there and how much and traveling a road that is alien to me?

Paul Makovsky. Uruguay, 1963. blog entry Apostrophe.

Milanese I system. Argentina.