译 名 笔记·日志·素描 / 瓦尔登 / Diaries Notes & Sketches: Walden
片 名 Diaries Notes and Sketches
年 代 1969
产 地 美国
类 别 纪录片
语 言 英语
上映日期 1970-05-23
豆瓣链接 https://movie.douban.com/subject/3024645/
片 长 177分钟
导 演 乔纳斯·梅卡斯 Jonas Mekas
演 员 蒂莫西·利瑞 Timothy Leary
艾德·艾姆许维勒 Ed Emshwiller
杰克·史密斯 Jack Smith
尼可 Nico
伊迪·塞奇威克 Edie Sedgwick
安迪·沃霍尔 Andy Warhol
朱迪丝·马利纳 Judith Malina
Storm De Hirsch
诺曼·梅勒 Norman Mailer
艾伦·金斯堡 Allen Ginsberg
约翰·列侬 John Lennon
小野洋子 Yoko Ono
斯坦·布拉哈格 Stan Brakhage
卡尔·西奥多·德莱叶 Carl Theodor Dreyer
哈里·史密斯 Harry Smith
阿道法斯·梅卡斯 Adolfas Mekas
拉姆·达斯 Ram Dass
肯·雅各布斯 Ken Jacobs
玛丽·门肯 Marie Menken
迈克尔·斯诺 Michael Snow
卢·里德 Lou Reed
Angus MacLise
彼得·库贝卡 Peter Kubelka
Amy Taubin
雪莉·克拉克 Shirley Clarke
Sterling Morrison
约翰·凯尔 John Cale
格雷戈里·马科普洛斯 Gregory J. Markopoulos
巴贝特·施罗德 Barbet Schroeder
莱昂内尔·罗戈辛 Lionel Rogosin
汉斯·李希特 Hans Richter
Philip Corner
杰罗姆·希尔 Jerome Hill
乔纳斯·梅卡斯 Jonas Mekas
Beverly Grant
编 剧 乔纳斯·梅卡斯 Jonas Mekas
制 片 人 乔纳斯·梅卡斯 Jonas Mekas
摄 影 乔纳斯·梅卡斯 Jonas Mekas
剪 辑 乔纳斯·梅卡斯 Jonas Mekas
简 介
Walden (Diaries Notes & Sketches) de Jonas Mekas États-Unis 1969 16mm 180’ nb et coul. vostf filmé entre 1964 et1968 monté en 1968-1969
Walden est le premier des journaux de Jonas Mekas rassemblés sous le titre générique Diaries Notes & Sketches – le premier monté même si Lost Lost Lost achevé en 1976 montre la période précédente de 1949 à 1963.
« Depuis 1950 je n’ai cessé de tenir mon journal filmé. Je me promenais avec ma Bolex en réagissant à la réalité immédiate : situations amis New York saisons. […] Walden contient le matériel tourné de 1964 à 1968 monté dans l’ordre chronologique. La bande-son utilise les sons enregistrés à la même époque : voix métro bruits de rues un peu de Chopin (je suis un romantique) et d’autres sons significatifs ou non. »
Jonas Mekas
« Je n’ai pas disposé de ces longues plages de temps nécessaires à la préparation d’un scénario puis au tournage puis au montage etc. Je n’ai eu que des bribes de temps qui ne m’ont permis de tourner que des bribes de film. Toute mon œuvre personnelle est devenue comme une série de notes. Je me disais : je vais faire tout ce que je peux aujourd’hui parce que sinon je ne trouverai pas d’autre moment libre avant des semaines. Si je peux filmer une minute je filme une minute. Si je peux filmer dix secondes je filme dix secondes. Je prends ce que je peux désespérément. Mais pendant longtemps je n’ai pas visionné ce que je filmais et emmagasinais ainsi. Je me disais que tout ce que je faisais c’était de l’entraînement. »
Jonas Mekas 1972
« Walden de Jonas Mekas s’impose près de trente ans plus tard comme un document cinématographique essentiel de la vie artistique new-yorkaise à l’une de ses époques les plus grandioses. Sans jamais choquer ni se confesser Mekas a imprégné chaque instant de ce très long film des nuances de sa personnalité. Parmi un vaste éventail de personnages pour la plupart non nommés ou simplement appelés par leur prénom – bien que certains soient mondialement célèbres – le seul portrait psychologique est celui du cinéaste lui-même : un poète lituanien exilé fasciné et torturé par sa lente américanisation. Le film est dominé par un rythme staccato nerveux qui s’épanche régulièrement en grandes exaltations. En accumulant massivement des images Mekas s’est constitué des archives uniques en leur genre pour assembler ce journal visuel le premier d’une longue série. Aucun autre film ne restitue à ce point la sensation propre à ce temps et à ce lieu telle qu’on peut la retrouver en regardant le film aujourd’hui. En tant que personnage secondaire apparaissant régulièrement devant la caméra de mon ami je suis conscient combien sa représentation des autres reste fragmentaire et elliptique et cependant ces images sont devenues pour moi les indices visuels les plus forts de la personne que j’étais il y a trente ans. Ceci est peut-être la clé de l’œuvre de Mekas : sa découverte d’une forme cinématographique laissant transparaître ses changements d’humeur sans imposer un masque cohérent de lui-même. Il a ainsi construit une oeuvre qui laisse les autres apparaître dans leur ambiguïté phénoménale. »
P. Adams Sitney 1996 Le Livre de Walden éd. Paris Expérimental 1997
« Disons que cinématographiquement parlant il n’y a peut-être rien de plus beau que les trois premiers plans de Walden : des arbres dans un parc bleuté par les reflets du soleil d’hiver la neige et l’aube du printemps ; du temps proustien ou haché en haïku du temps qui tient dans la main du souvenir partout. »
Philippe Azoury « Vivace Jonas Mekas » Libération 31 octobre 2000
Volume 1: Walden:引用
Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations friends New York seasons of the year. On some days I shoot ten fr
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Volume 2: Lost Lost Lost:
These six reels of my film diaries come from the years 1949-1963. They begin with my arrival in New York in October 1949. The first and second reels deal with my life as a Young Poet and a Displaced Person in Brooklyn. It shows the Lithuanian immigrant community their attempts to adapt themselves to a new land and their desperate efforts to regain independence for their native country. It shows my own frustrations and anxieties and the decision to leave Brooklyn and move to Manhattan. Reel three and reel four deal with my life in Manhattan on Orchard Street and East 13th St. First contacts with New York poetry and filmmaking communities. Robert Frank shooting The Sin of Jesus. LeRoy Jones Ginsberg Frank O'Hara reading at The Living Theatre. Documentation of the political protests of the late fifties and early sixties. First World Strike for Peace. Vigil in Times Square. Women for Peace. Air Raid protests. Reel five includes Rabbit Shit Haikus a series of Haikus filmed in Vermont; scenes at the Film-Maker's Cooperative; filming Hallelujah the Hills; scenes of New York City. Reel six contains a trip to Flaherty Seminar a visit to the seashore in Stony Brook; a portrait of Tiny Tim; opening of Twice a man; excursions to the countryside seen from two different views; that of my own and that of Ken Jacobs whose footage is incorporated into this reel. The period I am dealing with in these six reels was a period of desperation of attempts to grow roots into the new ground to create new memories. In these six painful reels I tried to indicate what it feels like to be in exile how I felt in those years. These reels carry the ti
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Volume 3: Notes for Jerome:
Award Presentation to Andy Warhol
16 mm 12 min. 1964
The Film Culture magazine Independent Film Award a basket of fruit for 1964 is presented to Andy Warhol. We see Andy among some of his leading stars: Baby Jane Holzer Gerard Malanga Ivy Nicholson and Jonas Mekas presenting a basket of fruit to Andy: mushrooms carrots apples bananas which then they all eat with great pleasure. "I can recall seeing only one Warhol film which was wholly pastoral and un-neurotic in feeling which contained or provoked none of these or other disturbing implications; and that turned out not to be a Warhol film at all as I thought at the time but a kind of homage by Jonas Mekas to Warhol--really a work of Mekas' own sensibility though seemingly in the official Warhol st
Film Magazine of the Arts
16 mm 17 min. 1963 French/Korean subti
Show Magazine needed a promotional film and somebody suggested to them that I make it. I agreed to do it. They paid well. I conceived the film as a serial film magazine that would come out once a month or every three months. We shot a lot of footage with Show Magazine people always present always dropping issues of Show Magazine on the floor everywhere. When I screened the first draft of the film for them they were shocked to see that I had eliminated all those magazines and much of the footage of fashion models they had me shoot (although you see some of that at the very end of the film). So that was the end of that project. I think that concept of a film magazine had they really supported me was a good one and would have received much better publicity than the kind of thing they wanted. There are some parts I like very much: I like the whole thing really. They seized the original right after the screening. They were planning to hire their own editor to reedit the film their way. They also took all the outtakes but decided finally not to do anything with it. All my prints are from the work print.
Cassis
16 mm 5 min. 1966
A small port in the South of France a lighthouse the sea. The year was 1966. The month of July. I was visiting Jerome Hill. Jerome loved France especially Provence. He spent all his summers in Cassis. My window overlooked the sea. I sat in my little room reading or writing and looked at the sea. I decided to place my Bolex exactly at the angle of light as what Signac saw from his studio which was just behind where I was staying and film the view from the morning till after sunset fr
The 24 hours that pass over the Cassis landscape take only a few minutes in this episode but during that time the sea the sky and mountain are brushed in by a mighty hand; boats and people are animated otherwise than in daily life. The effect is at the same time uncanny and yet immediately recognizable as belonging to the artist's inner vision. One is elated. One laughs without its being funny. - Jerome Hill Interview 1970
Hare Krishna
16 mm 4 min. 1966
Filmed on Nov. 5th 1966. With Phil Corner Barbara Rubin Srila Prabhupada. Sound: Allen Ginsberg and the participants. One Sunday afternoon in New York - beautiful new generation - dancing in the streets of New York - singing "Hare Hare" - filling the streets and the air with love - in the very beginning of the New Age - Allen Ginsberg and Peter Orlovsky (on soundtrack) singing.
Notes on the Circus
16 mm 12 min. 1966
Ringling Bros. filmed in three sessions (three-ring circus); colors motions and memories of a circus. Edited in camera (an exercise in instantaneous structuring). Sound by Jim Kweskin's Jug Band (can be watched also silently). Dedicated to Kenneth Anger who provided the Ektachrome film stock in one of my many dry periods.
Report from Millbrook
16 mm 12 min. 1966 English/French/Lithuanian/Korean subti
Report from Millbrookwas filmed in 1965 on a weekend visit to Timothy Leary's place. It was a light summer outing. No LSD. Tim took me for a walk though and we talked about LSD. At one point in our walk we stopped on a little bridge. We looked into the stream silently. Tim broke the silence. He had noticed he said that I was only reading while other guests were using the occasion under his supervision to go through an LSD experience. I told him that the chemicals that motivate and drive artists are more powerful and mysterious than LSD or any drug. On that note we turned back and ended our walk. There was nothing more to say. In 1966 Tim's place was raided by the local sheriff. The East Village Other taped an interview with the sheriff about the raid. I used the interview as the soundtrack for the film. The footage can also be seen in a different version in Walden.
Travel Songs: The Song of Avila The Song of Italy The Song of Assisi The Song of Moscow The Song of Stockholm
16 mm 22 min. 1967
Five different "songs" or segments: footage from Avila (Spain) Stockholm Moscow Assisi Italy. Brief images a lot of single fr
In Between
16 mm 52 min. 1978 English/French/Korean subti
The material for this film is footage that didn't find a place in the Walden reels. Some of it begins in between Lost Lost Lost and Walden. It's mostly New York and some travel footage. The city friends: Richard Foreman Amy Taubin Mel Lyman Peter Beard David Wise Andrew Meyer Salvador Dali Jerome Hill David Stone and Barbara Stone my brother Adolfas filming Double Barreled Detective Story Diane di Prima Alan Ginsberg Norman Mailer Ed Sanders Gordon Ball Henry Romney Jack Smith Shirley Clarke Louis Brigante Jane Holzer etc. etc. It's a period piece. The sounds were recorded about the same time. Bits of radio music bits of records my own voice and voices of my friends. Mel Lyman playing banjo on the roof of 23rd Street was actually recorded on the roof with the wind blowing into the mike.
Notes for Jerome
16 mm 47 min. 1978 French subti
During the summer of 1966 I spent two months in Cassis as a guest of Jerome Hill. I visited him briefly again in 1967 with P. Adams Sitney. The footage of this film comes from those two visits. Later after Jerome died I visited his Cassis home in 1974. Footage of that visit constitutes the epilogue of the film. Other people appear in the film all friends of Jerome: Taylor Mead Bernadette Lafont Charles Rydell; Barbara Stone and David Stone and their children; Noël Burch Judith Malina and Julian Beck and the Living Theater collective; Mrs. Chaliapin Jean-Jacques Lebel Michel Fontayne; Alec Wilder P. Adams Sitney and Julie Sitney; and Jerome's perhaps closest and oldest friend whose name I forgot but whom he always called Rosebud. The soundtrack was all recorded during the same period during the same visits to Cassis. Piano improvisations are Jerome's and Taylor Mead's; the soloist (Monteverdi's Lasciatemi morire! and Giordani's Caromioben) is Charles Rydell practicing in Cassis; the ocean and most of the wind is the late summer mistral; and so are the cicadas street music. Those were happy but lonely summers for me I thought a lot about home. That's why this film this elegy for Jerome is dedicated to the wind of Lithuania. Sometimes though I had a feeling that Jerome was as much of an exile as was I. - October 27 1978
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Volume 4: Reminiscences of a Journey to Lithuania:
Reminiscences of a Journey to Lithuania
16 mm 82 min. 1972 English/French/Lithuanian/Korean subti
The film consists of three parts. The first part is made up of footage I shot with my first Bolex during my first years in America mostly from 1950-1953. It shows me and my brother Adolfas how we looked in those days; miscellaneous footage of immigrants in Brooklyn picnicking dancing singing; the streets of Williamsburg. The second part was shot in August 1971 in Lithuania. Almost all of the footage comes from Semeniškiai the village I was born in. You see the old house my mother (born 1887) all the brothers goofing celebrating our homecoming. You don't really see how Lithuania is today: you see it only through the memories of a Displaced Person back home for the first time in twenty-five years. The third part begins with a parenthesis in Elmshorn a suburb of Hamburg where we spent a year in a forced labor camp during the war. After the parenthesis closes we are in Vienna where I see some of my best friends - Peter Kubelka Hermann Nitsch Annette Michelson Ken Jacobs. The film ends with the burning of the Vienna fruit market August 1971.
Paradise Not Yet Lost
16 mm 96 min. 1979 English/French/Korean subti
Filmed in 1977 edited in 1979. These reels of my film diaries contain the film "notes" taken during the calendar year 1977 arranged chronologically. The film is divided into six parts. The first part takes place in New York. We see a lot of home life and SoHo. We see a lot of our daughter Oona whose third year of life this is. Some other subjects: Peter's Concert (Peter Kubelka); A visit to Marie Deren (Maya's mother); St. Patrick's Parade; Spring in Central Park; etc. The second very brief part takes place in Sweden visiting Anna Lena Wibom. The third part takes place in Lithuania. Myself my wife Hollis and our 2-1/2 year old daughter Oona visit my mother on the occasion of her 90th birthday. Oona meets her young cousins we drink home made beer we walk through the woods gather mushrooms and wild strawberries we fool around. The fourth part is in Austria visiting Peter Kubelka and Hermann Nitsch in Prinzendorf. We taste Hermann's wine we talk to Peter's donkeys we visit Pater Nicolaus in Kremsmuenster and then we go to Italy with Peter in pursuit of Michelangelo's wine Canaiola. The sixth part is back in New York; a visit to Willard Van Dyke upstate; Oona's third birthday; a fire on Broome Street; more home scenes; the beginning of winter storms. It's a diary film buy also it is a meditation on the theme of Paradise. It is a letter to Oona; to serve her some day as a distant reminder of how the world around her looked during the third year of her life - a period of which there will be only tiny fragments left in her memory - and to provide her with a romantic's guide to the essential values of life - in a world of artficiality commercialism and bodily and spiritual poison. - November 1979
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Volume 5: Scenes from the Life of Andy Warhol:
Scenes from the Life of Andy Warhol
16 mm 36 min. 1990 English/French/Lithuanian/German/Korean/Chinese subti
Music: Velvet Underground recorded in 1966. Opening segment taped at the Dom at the first public performance with Nico. End section: Mass for Andy Warhol at St. Patrick's Cathedral. The film is made up of my film diaries related to Andy Warhol from the years 1965-1982. Locations are New York and Montauk: The Factory house of George Maciunas village gate psychiatrist's convention home of Stephen Shore Warhol Estate Montauk etc. The "cast" includes Lou Reed Nico Edie Sedgwick Gerard Malanga Andy Warhol Allen Ginsberg Ed Sanders Barbara Rubin Tuli Kupferberg Peter Orlovsky John Lennon Yoko Ono George Maciunas Vincent Fremont Henry Geldzahler Paul Morrissey Karen Lerner Jay Lerner Peter Beard John Kennedy Jr. Lee Radziwill Tina Radziwill Anthony Radziwill Joe D'Alessandro Caroline Kennedy Mick Jagger Jade Jagger and many other. Completed in June 1990.
Zefiro Torna
16 mm 37 min. 1992 English/French/Lithuanian/German/Korean/Chinese subti
Footage of George Maciunas taken between 1952 and 1978. Includes footage of his parents footage of many Fluxus events and scenes from Maciunas' private life and his friends such as Yoko Ono John Lennon Andy Warhol Joe Jones Almus Salcius and many others. Soundtrack: a madrigal by Monteverdi (Zefiro Torna) and me reading from my diaries kept during the last two years of Maciunas' life.
Happy Birthday to John
16 mm 24 min. 1995 English/French/Lithuanian/German/Korean/Chinese subti
October 9 1972 an exhibition of John Lennon & Yoko Ono's art designed by the Master of the Fluxus movement George Maciunas opened at the Syracuse Museum of Art curated by David Ross. Same day an unusual group of John and Yoko friends including Ringo Starr Allen Ginsberg Paul Krassner and many others gathered to celebrate John's birthday. This film is a visual and audio record of that event. We hear improvised songs sung by Ringo John Yoko and their friends not as a clean studio recording but as a birthday party: singing free and happy. There are other images included in the film that develops like a "music video": the John & Yoko party at Klein's (their agent) June 12 1971; August 1972 John and Yoko concert at Madison Square Garden; the Central Park Vigil after John was shot; and some other footage that I have taken on different occasions of John and Yoko.
This Side of Paradise
16 mm 35 min. 1999 English/French/Lithuanian/German/Korean/Chinese subti
Unpredictably as most of my life's key events have been for a period of several years in the late sixties and early seventies I had the fortune to spend some time mostly during the summers with Jackie Kennedy's and her sister Lee Radziwill's families and children. Cinema was an integral inseparable as a matter of fact a key part of our friendship. The time was still very close to the untimely tragic death of John F. Kennedy. Jackie wanted to give something to her children to do to help to ease the transition life without a father. One of her thoughts was that a movie camera would be fun for children. Peter Beard who was at that time tutoring John Jr. and Caroline in art history suggested to Jackie that I was the man to introduce the children to cinema. Jackie said yes. And that's how it all began.
The images in this film with a few exceptions all come from the summers Caroline and John Jr. spent in Montauk with their cousins Anthony and Tina Radziwill in an old house Lee had rented from Andy Warhol for a few summers. Andy himself spent many of his weekends there in one of the cottages as did Peter Beard whom the children had adopted almost like their older brother or a father they missed. These were days of Little Fragments of Paradise.
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Volume 6: Out-Takes from the Life of a Happy Man:
Out-Takes from the Life of a Happy Man
16 mm 68 min. 2013 French/Spanish/Lithuanian/Chinese/Korean subti
In my editing room there is a shelf with many cans of film going back as far as 1950. There are all materials that relate to my finished films from 1950 till now but they somehow couldn't find a place in them. They are in filmmaking language out-takes. And they are all slowly fading. Some are already faded. On the occasion of my Serpentine show I decided that the time had come to finally collect all this footage in my final film-as-film. Result of that decision is this film. Footage covers a lot of home life and materials that I took of my friends the city nature and during the visits to Lithuania. All put together in my usual random chance "order."
Quartet #1
16 mm 10 min. 1991 English/French/Lithuanian/Korean subti
Around 1991 I began to worry about the huge amount of unedited footage that I had on my shelves. I had to do something with it before it begins to fade. One idea was to begin to edit it all in the form of quartets. This quartet was my first try in that direction. I was not too happy with it and did not continue the project. Instead I began working on a much bigger idea which resulted in As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty. The film doesn't have much to do with the form of what's known as Quartet. In 1991 I was despairing with the amount of unedited diaristic material that I had. I was searching for ways of dealing with it. This film is a result of my searching.
Cinema Is Not 100 Years Old
AV 4 min. 1996 French/Korean subti
The real history of the cinema is the invisible history - history of friends getting together doing the thing they love - for us the cinema is beginning with every new buzz of the projector. With every new buzz of our cameras our hearts jump forwards my friends!
Song of Avignon
AV 8 min. 2001 English/French/Lithuanian/Korean subti
Reflections on my 1966 trip to Avignon that helped me to survive a deep crisis I was going through. Some random images from the period the sunrise approaching Avignon from the train etc. Soundtrack: texts from my diaries of that period read by Angus MacLise.
Ein Märchen aus alten Zeiten
AV 6 min. 2001 French/Korean subti
It comes from a poem of a German poet Heine. It's a third line of a poem that he wrote and it goes something like this in a free translation:
I do not know what it means
but it keeps coming back to my mind
a (fairy) tale from far far back (Ein Märchen aus alten Zeiten)
The 9/11 event was so beyond normal human comprehension (which understands only small horrible events) that I had to put it into the category of a fairy tale - I have a pile of old literary magazines from end of 19th century and beginning of the 20th - and I was searching for some image from the past to introduce this event - and I found this young girl in her dream of something like she could be thinking about things of long long ago - since then I have discovered that it was a photograph by a very well known end of 19th century woman photographer but I do not remember her name right this moment. The 9/11 event was so beyond my own comprehension - you can understand and react to a death of one or two persons but I could not react to the death of 2500 people - it was an abstraction a fairy tale - that's why I fr
A Letter to Penny Arcade
AV 14 min. 2001 French subti
I made this video on June 23rd 2001 as a video letter to my dear friend Penny Arcade who a few days earlier had asked me why I love New York. I truly and truly love New York! This Letter to Penny Arcade is also my Love Letter to New York.
Williamsburg Brooklyn
16 mm 12 min. 2002 French/Lithuanian/Korean subti
Footage I shot in 1950 my first year in New York more precisely in Brooklyn. Williamsburg was a small miserable part of Brooklyn inhabited at that time mostly by Lithuanian immigrants and Hassids. That was my new home. Miserable home but hom. And I knew that Henry Miller had lived in Williamsburg I passed his house every day. So I was happy to be there. And I was free! I was free and I had just acquired my first Bolex camera.
Silence Please
DV 4 min. 2014 No subti
Made for a billboard projection project in Luxembourg a project that never became reality this video is an exercise in silence and sound.
My Bolexes
DV 6 min. 2015 French subti
Jonas Mekas shows us the five Bolex cameras that he used to make all his films 1950-2000. They also helped other filmmakers (Jack Smith Gregory Markopoulos Naomi Levine...). "I'm on my fifth Bolex now. They survive for one decade then the springs retire." - Pip Chodorov
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Volume 7-8: As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty:
My film diaries 1970-1999. It covers my marriage children are born you see them growing up. Footage of daily life fragments of happiness and beauty trips to France Italy Spain Austria. Seasons of the year as they pass through New York. Friends home life nature. Nothing extraordinary nothing special things that we all experience as we go through our lives. There are many inter-ti
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