Grant Gee , James Leyland Kirby. Filmmaker spoke with Gee about literary obsession, walking art, and why documentary can pull off a difficult subject. Rick Moody mentions in the film that for him silk is an underlying thread in Rings , almost the subterranean webwork of the book. This all needs doing, but only as a basis for what the film is actually up to. We have heard the sound of cars, and now we see a train pull out of a station. Things surfaced out of and submerged back into this landscape footage which I had captured. The last sequence is both amusing and moving. Patience has all kinds of interesting angles and moments, but four in particular come to define it:
His grave gets a small cameo. There was never a moment where I said Okay, I have to have someone make this point here. The author is dead, twice: Grant Gee , Sebald, Films About. Post was not sent – check your email addresses! Come back and fade away again. The two more continuous elements are visual and aural. Posted by Helen at
Leave a Reply Cancel reply Enter your comment here And then I edited subtigles of it in sequence — there was only about minutes — so within four hours I already had some kind of film. You are commenting using your Facebook account. In he set off on a walk around Suffolk prompting a series of sebakd encounters, intense elemental sfbald in the landscape and profound reflections on afher human adter. Sebald I came to posthumously so that was never part of the equation for me. Well, I came to Sebald long after he died and so my thoughts about him were relatively uncontaminated.
Whatever the reason, the result is wonderful. Yet with documentary, because you can ask questions that the audience can enjoy trying to answer themselves, you can make something more open-ended.
Pages Home About Research Links. Where literature and art intersect, with an emphasis on W. The final image reduced me to tears. What made it doable and enjoyable for me was simply the first idea — the subtitle is An English Pilgrimage. This second voice also belongs to Sebald, because he wrote the words or at least wrote the German words his translator, Michael Hulse, turned into English ; to Pryce, because the accent and intonations are his; and to us, because we are reading along, making our own the voice we hear.
Things surfaced out of and submerged back into this landscape footage which I had captured. The author is dead, twice: We afyer heard the sound of cars, and now we see a train pull out of a station. Post was not sent – check your email addresses! Rick Moody mentions in the film that for him silk is an underlying thread in Ringsalmost the subterranean webwork of the book.
Patience: The DVD
He has a special relevance to us at Topograph because he lectured at the University of East Anglia for 30 years and had settled in Norwich. The writer takes a series of long walks through the Suffolk countryside and along the coast and then becomes ill, almost unable to move.
Patience After Sebald director Grant Gee. Beneath it there is sea, or wubtitles are trees or houses, but all flattened, uniform.
Wednesday, 7 March Patience After Sebald: Sorry, your blog cannot share posts by email. Come back and fade away again.
There is something incredibly beautiful about these frames, and about the fact that they are moving pictures in which nothing moves, as distinct from atfer, in which nothing can move. Then the image fades, leaving us only with the smoke. Bibliography Photo-Embedded Literature — He died in The two more continuous elements are visual and aural. Bibliography Photography-Embedded Literature It was a self-contained event for me.
Topograph: Patience (After Sebald): a geographer’s reflections
And it was a very formal art device, in a way. It is deeply beautiful and delightful film. Fascinating topic, and many thanks for writing so elequently.
I went through the four main books and then the poetry and short stories and then books about him. I can think of three or four exhibitions that have been put together in the UK with explicitly Sebaldian themes. Michael Wood is the author, most recently, of Yeats and Violence and Film: You are commenting using your Twitter account. The scratches and degradation and repetition [from manipulating old 78s] worked perfectly. You are commenting using your WordPress. This all needs doing, but only as a basis for what the subtirles is actually up to.
Many of the people interviewed in the film described the book as enigmatic, ambiguous and gently wandering, and that was exactly the atmosphere in our dark theatre as we sat transfixed before the screen.
We see the photographs, in color, and then Gee gradually pulls up an image of Sebald himself through the smoke, drooping mustache, sorrowful countenance, and all, the twigs and branches of the actual trees behind him still showing like scratches. He has become his text, which is different, and only an extraordinary actor could, as Pryce does, so thoroughly reanimate a real person and stay so subtly out of the way.
It must have been daunting for you to think about translating the book into a cinematic medium. Photo by Yorgos Lanthimos. There is the voice of the author himself, and then there is the voice of the book, sbtitles turns out to be different.
This is not a documentary gesture, a bit of backup to the story. Remembering as Sebald practices it, combining location with local history and local history with far-reaching acts of research and not quite patiejce association, takes us well beyond disaster and loss. I read many more books than I write about here at Vertigo. Bibliography Photography-embedded Literature — The s: