Метафизика не-мертвых в кино

Джаляль Тоуфик, 2022

Автор книги, мало известный иному читателю кроме англоязычного, в этой книге, в оригинале называющейся (Vampires), на примерах из вампирского и не только кинематографа предлагает с ним рассмотреть устройство самой всеобщей и таинственной сферы жизни – смерти. Немертвые, будучи запечатлены на плёнку, позволяют охарактеризовать себя и выводить некоторые закономерности, что делает настоящий труд истинным исследованием. Исследованием непростым как для автора, так и для читателя, который скорее всего воспримет результаты скептически. В формате PDF A4 сохранен издательский макет книги.

Preword by translator

(VAmpires). uneasy? Not sure the word is correct, why to translate it?

It seems no person believes in vampires nowadays. And we don’t know who could fear them properly as visible is shown on screen with widest spectra possible. What is on screen now? EPIDEMIC by Lars von Trier. The way to watch a movie may vary from point to point. Some say cinema is emotional path a spectator goes in associations with what sees. Some say black and white should be prohibited. Some say cinema is dead as everyone on screen does not exist in the cinemahall. This «uneasy essay on undead in film» (take care on changing film into cinema) was written in specific mood. Only one who would like to understand author’s view on cinema should pass the whole book and even then we cannot guarantee anything will be reached. As written inside many specific conditions shoud be appointed to meet the vampire. And as author ceases to mention the real director has a vampiric nature as well as a cameraman should feel undead while working. Speculative realism and sociology of non-humans (actor-web theory) as well as other contemporary developing popular theories are far from revealing what is going on really on the planet Earth. Still EPIDEMIC on screen. Cinema as place where to write… Written on confidential meeting with the one whom suppose undead.

Strongly not recommended to read the book as guide to specific cinema. You’ll find vampyric any cinema good enough to be watched. Even when on screen there is only something boring, intercut or static paysage panorame, one should ask who sees it, as camera is also an object with its charachteristics. The Vampires book is only the reason to think «am I watching cinema right or should left it?» and the one answering is writing this text. Was it difficult to translate Jalal Toufic? Definitely. Definitely uncertaintly. What is «died before dying» as someone states in his biography on jalaltoufic.com? Just an original formulae for difficulties during finding a pathway through the labirinth a reader should leave (impossible) (impossible?) to create an independent meaning on this book, to «ander-stand» it (german roots of Hegel makes his language intranslatable to russian without loss of meaning. Written in english by arabian author, Vampires need strong editing by linguists in their fictional parts). Moving or static, long or short, objective or subjective, a shot in movie (as well as in cinema) is made on film. Contemporal cipher cinema is also undoubtedly possibly containing same «magic», we don’t know. Almost every cinema in the Vampires book as it is written in early 1990th and only second edition came in 2003, is film-based. Rare unciphered pieces descripted. The idea may come to a reader there is no such a movies — believe there is no. EPIDEMIC on screen. Is this movie vampiric? Who knows… Hero (dubled): «сначала загорелся собор потом пламя перебросилось на здание университета затем охватило музей где разместилось временное правительство… они укрылись в библиотеке». То give you a definition of a vampyric movie I should at first describe them in terms of «contain either… or…». 1) shots which may be interpreted as points of view (pov) of someone previously or consequently on screen; 2) a combination of shots in different timelocations which attributed by spectator to one diegetic movement (fast relocation); 3) aftertaste you feel before the seance as you’ve been on screen and know nothing will surprise you.

Only one ready to accomplish his/her system by ready-to-use «buildup» will be visited by specific haunters the book does not teach to create as others his books maybe do. Arabic syntaxis in english words are hard to understand while uneasy to revert to русский, so let article in preword be as such and noone will proof it is not received telepathically.

February 2021

Автор выражает благодарность:

“Hamra Street Project” 17–27 ноября 2000 г Бейрут, Ливан

Акрам Заатари

Махмуд Ходжейдж

Fādī al-ґAbdallāh

Музей Джебрана в Бишари, Ливан, за акварель Халиля Джебрана 1923 года

L'Harmattan за фотографию Дмитрия Бальтерманца Arab Image Foundation (AIF)

Джордж Кваша

Самая милосердная вещь в мире, я думаю, — невозможность человеческого ума соотнести все его содержимое. Мы живем на спокойном острове неведения в окружении черных морей бесконечности, и это не значило, что мы должны отправляться в дальнее плавание. Науки, каждая тянущая в своем направлении, до сих пор вредили нам мало; но однажды составление из кусочков разобщенного знания приоткроет столь ужасающие перспективы реальности и нашего устрашающего положения в ней, что мы либо станем помешанными от этого откровения, либо сбежим от мертвенного света в умиротворенность и безопасность новой темной эры.

Г. Ф. ЛавкрафтЗов Ктулху