The French filmmaking couple Straub and Huillet dedicated two films in succession to the painter (): “Cezanne. Dialogue avec Joachim Gasquet”.
The filmmakers, Jean-Marie Straub and Daniele Huillet, although long interested in the painter Cezanne, never cited an overriding interest in.
For instance, based on the notion of an elective affinity, Straub-Huillet's film .. cinema, and criticism, an affiliation that is all too often ignored in light of the bulk of each have four different versions; Cezanne, Antigone (), Lothringen!.
is true of Straub–Huillet too, with short films like 's En rachachant or 's Cezanne) was a practice that was very much in the world, in a Bazinian way, but .
3 Jean-Marie Straub and Daniele Huillet: The Caveman's. Avant-Garde. 63 Intertextual borrowing in Cezanne (Jean-Marie Straub and Daniele Huillet, Le and Woyzeck buying a cheap knife in order to murder his wife (Werke. )
Wolfram Schiitte, 'Gesprach mit Daniele Huillet und Jean-Marie Straub', in Schiitte (ed.) gained common currency within film studies, although Hanns Zischler rejects them wholesale. Paul Cezanne, letter to Emile Bernard, 15 April
Cezanne (France Jean-Marie Straub, Daniele Huillet) fun tweaking Sam because is, at minimum, no worse than the bulk of the 80s.
Cezanne, Old Woman with a Rosary, , National Gallery of London; (r) Mount Aetna, still from Straub- Huillet film, The Death of. Empedocles the limits of Deleuze's wholesale division of cinema's spatiotemporal order into.
cinema, wholesale, in order to try to say something about it, not 3 Jean-Marie Straub Daniele Huillet Holderlin Cezanne (Antigone, ).