Andre S. Labarthe
A critique writer for the Cahiers du cinema in the 50s, Andre S. Labarthe, in collaboration with Janine Bazin, is the founder of a series entitled ‘Cineastes de notre temps’. Filmed in the political wake of the authors’ inauguration by the Cahiers du cinema, it is a fundamental collection of portraits and interviews with film makers. His notion of ‘La Nouvelle Vague’ as the defining moment of modernization led him to question all fields of literature, painting, music and dance for his documentary work on creation.

Alain Bergala
Former editor in chief for the Cahiers du cinema in the 80s and lecturer of film at la Sorbonne nouvelle, Alain Bergala is an expert in Jean-Luc Godard's work. He has dedicated many essays to photography as well as on how to teach the concept of transmission. Writer of several films (both fiction and documentary), he is currently putting together Abbas Kiarostami-Victor Erice's exhibition due to begin at the museum of Barcelona this autumn.

Alain Jaubert
Alain Jaubert has directed portraits of writers (Jorge-Luis Borges, Mario Vargas, Alten Ginsberg, Umberto Eco...) and thematical evening programmes for ARTE. He became known through a series of films entitled 'Paletes', which in collaboration with the Louvre museum, contributed in a most examplary way to evoking the art of painting and the history of a canvas through the use of images and sound. In 2004, he has published one novel entitled "Val Paradis".

more information on:
www.sens-public.org/article paru2
www.archives.arte-tv.com/special/palettes/ftext/comment.htm

Charles Tesson
Former editor in chief of the Cahiers du cinema, lecturer in film at the Sorbonne nouvelle, Charles Tesson contributed to the discovery of Asian cinema in France in the 80s. He is the author of several essays (about Bunuel and about Satyajit Ray) and will be the speaker during our program.

Patrick Sandrin president of the company Sofilm is conceptualizing and directing a series of workshops on the art of film and visual arts backed by the French Embassy in Bulgaria. The first one tackles the question 'How film interacts with other art forms' and is taking place at the International festival of Balchik. It will bring together Alain Bergala, Alain Jaubert and Andre S. Labarthe. This debate will be hosted by Charles Tesson, critic for 'Cahiers du Cinema', essayist and teacher at the Sorbonne.

FILM MEETS OTHER ART FORMS
From its circus and performance roots, Film has been and still is a powerful vessel for mainstream thought. Throughout its history and evolution, and thanks to the work of its critics, it has refined as an art form. It is now considered an art in itself along with those who create it. For some, film comes after other arts; what differentiates it is the way that it records whatever unfolds in front of the camera- from reality to a play. For others, it actually becomes an art in itself when through its picture, frame, scope, editing sound and rhythm; it develops its own language and stands out through its writing and style. These open lectures on 'Film meets other visual art forms' will draw on the experiences of our three guests Alain Bergala, Alain Jaubert et Andre S. Labarthe and seeks to enlighten us on the following questions: First, we will examine how and why 'the making of' documentaries can help us understand the featured film. How can film be used as a tool to explain itself? How can it draw the audience in and help us know and understand it? With regards to the role of critics and its written tradition; how do the practical and visual elements of film contribute to widening our understanding of it and incite us to become involved in its creation?

Second, we will examine how film can both expose us to and bring back to the public's attention, other art forms such as music, painting and dance, to name but a few. The question is not so much how can this be done, but how must it be done? If a film can show an extract from another film, how does this translate when talking about a painting or music?

This seeks to examine in what frame of mind film meets other art forms and for what type of audience. Is it done to remind us of their existence (to archive them), to publicize them (the power of television broadcasting, exposing and teaching about culture, and the necessary precautions to preserve the original art form), to understand them, or even love them? All films are more or less targeted. Either in terms of audience demand or those who place an order (institutions, educational establishments, TV channels, museums) we shall see how this relationship between film and other art forms has its own story, running parallel to cinematography's. We shall see how its direction and production has evolved, from movie theatre to television, right through to today's uses in museums.

Let us not forget that when film comes across other art forms, it has to think about alternative methods of expressing itself and examine the different ways in which it can portray these other forms. In other words, film can create its own dynamic of self-improvement and seek to develop within itself from its contact with these other art forms. This enhancement of film in terms of both its artistic quality and above all self-improvement; leads to self analysis. Whereby through its contact with other forms of art, film goes through a period of introspection and contrasts itself in terms of what it can and can't do compared to other art.

Jean Renoir used to say 'if you want to talk about yourself you find yourself lost for words, it's only in describing others that you can tell your own story'. Can we apply this to our subject matter at hand and say that this is true of film when it meets other art forms?
- Charles Tesson

Patrick Sandrin
There are two concepts I have always tried to combine with my work which have lead the way when making professional choices: Ethics and Politics.

As producer, I have always defended the non mainstream movies or rather, more specifically, the artists whose work seemed to me to contribute to the diversity of this world.

This line of work has also enlisted me in struggles in different coutries and on different continents just as well as in the very heart of our own profession for the freedom and the legitimate recognition of atypical works or atypical creators.

Over the last 10 years in Bulgaria, I have been contributing within my capacity and in my sphere of activity to renewing a professional field. These choices have nourished my life and my perception of the world. Our line of work is complex and is expressed through the diversity inspired by the background and conscientiousness of actors. Beyond this line of work, declaration of faith creates convictions.

I like to think that the value of people is most often measured according to their beliefs.

I therefore thought to bring together people and professionals in the filming industry several times a year. These people, who are involved in questioning some of the craziest and most serious matters of the film industry, will be discussing this area as well as other related themes implicated by it.

The choice of renowned people led by Charle Tesson is founded upon the respect and the admiration we have for them. The wealth of their experience and culture, the versatility and uniqueness of their work and international resonance, leads me to believe that they can lead the way, be the go between and be the initiators at the service of young creators looking for authors.

I am very grateful to M. Yves Saint Geours, Ambassador to France in Sofia, and to the French Cultural Center without whom this ambitious challenge would not have seen the light of day.
Patrick Sandrin

^ Top