ngg_shortcode_0_placeholder<\/p>\n
FILM AS FILM: THE CINEMA OF GREGORY MARKOPOULOS 5<\/strong> \u201cBeloved spectators of my distant Temenos, what evolved was the ultimate concern for the medium of film. A continuous working decision not to betray you as film spectators; not to impose a message in your laps. But to deposit before you on a virile screen the very depths which concerned the present work in such a manner that you might one day at its presentation realize that I have been concerned always for you. I now repeat again the word, an effortless illusion and triumph with the legend of Faust; and, with the future film spectator of the Temenos supplying the very brilliance.\u201d (Gregory J. Markopoulos)<\/p>\n Gregory J. Markopoulos, Genius, 1970\/1989-91, 60 min Gregory J. Markopoulos, Gilbert and George, 1975\/1989-91, 12 min FILM AS FILM: THE CINEMA OF GREGORY MARKOPOULOS 5 Sunday 28 September 2014, at 4:30pm Cambridge Harvard Film Archive \u201cBeloved spectators of my distant Temenos, what evolved was the ultimate concern for the medium of film. A continuous working decision not to betray you as film spectators; not to impose a message in your laps. But […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[158],"tags":[136],"class_list":["post-5718","post","type-post","status-publish","format-standard","hentry","category-gregory-markopoulos-film-as-film","tag-gregory-markopoulos"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5718","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=5718"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5718\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=5718"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=5718"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=5718"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n Sunday 28 September 2014, at 4:30pm<\/strong>
\n Cambridge Harvard Film Archive<\/strong><\/p>\n
\n<\/strong>Portraits of the artists David Hockney and Leonor Fini are intercut with one of art dealer Daniel-Henry Kahnweiler. Initially Markopoulos shot three autonomous portraits, but he quickly came to believe that he had been making a version of Faust<\/em>without realizing it. He first called the film The Illuminations of Faust <\/em>and later settled on Genius<\/em>. In his essay \u2018The Redeeming of the Contrary\u2019, published in the Spring 1971 issue of Film Culture<\/em>, Markopoulos stressed the ambiguity of his creation and the intuitive nature of his working processes: \u201cI had no idea that these three figures of the art world \u2026 would become the very elements of my Faust. And yet they did. They evolved, once the decision was made, effortlessly.\u201d The spontaneity of this evolution from autonomous portraits of figures \u201csitting in their own rooms\u201d lies at the core of what Markopoulos took to be his gift to his future audience. (P. Adams Sitney)<\/p>\n
\n<\/strong>A portrait of the British artists, two living sculptures, filmed in Paris on the occasion of their exhibition at the Sonnabend Gallery. (Mark Webber)<\/p>\n","protected":false},"excerpt":{"rendered":"