futurist manifestos in translation

http://www.unknown.nu/futurism/
these are almost decent translation...
BUT in reality you should learn Italian...
fredd

see:
 The Futurist Cinema
[...]

 Our films will be:
	1.  	 Cinematic analogies  that use reality directly as one of the two 
elements of the analogy. Example: If we should want to express the  
anguished state of one of our protagonists, instead of describing it in 
 its various phases of suffering, we would give an equivalent 
impression  with the sight of a jagged and cavernous mountain.

 The mountains, seas, woods, cities, crowds, armies, squadrons,  
aeroplanes will often be our formidable expressive words:  the universe 
will be our vocabulary.  Example: We want to give a sensation  of 
strange cheerfulness: we show a chair cover flying comically around  an 
enormous coat stand until they decide to join. We want to give the  
sensation of anger: we fracture the angry man into a whirlwind of  
little yellow balls. We want to give the anguish of a hero who has lost 
 his faith and lapsed into a dead neutral skepticism: we show the hero 
in  the act of making an inspired speech to a great crowd; suddenly we  
bring on Giovanni Giolitti who treasonably stuffs a thick forkful of  
macaroni into the hero’s mouth, drowning his winged words in tomato  
sauce.

 We shall add color to the dialogue by swiftly, simultaneously showing 
every image that passes through the actors’ brains. Example:  
representing a man who will say to his woman: “You’re as lovely as  a 
gazelle,” we shall show the gazelle. Example: if a character says,  “I 
contemplate your fresh and luminous smile as a traveler after a  long 
rough trip contemplates the sea from high on a mountain,” we  shall 
show traveler, sea, mountain.

 This is how we shall make our characters as understandable  as if they 
talked.

	2.  	 Cinematic poems, speeches, and poetry.  We shall make all of 
their component images pass across the screen.

 Example: “Canto dell’amore” [Song of Love] by Giosuè Carducci:
 In their German strongholds perched
 Like falcons meditating the hunt

 We shall show the strongholds, the falcons in ambush.

 From the churches that raise long marble
 arms to heaven, in prayer to God
 Prom the convents between villages and towns
 crouching darkly to the sound of bells
 like cuckoos among far-spaced trees
 singing boredoms and unexpected joys...

 We shall show churches that little by little are changed into 
imploring  women, God beaming down from on high, the convents, the 
cuckoos,  and so on.

 Example: “Sogno d’Estate” [Summer’s Dream] by  Giosuè Carducci:

 Among your ever-sounding strains of battle, Homer, I am  conquered by
 the warm hour: I bow my head in sleep on Scamander’s  bank, but my
 heart flees to the Tyrrhenian Sea.

 We shall show Carducci wandering amid the tumult of the Achaians,  
deftly avoiding the galloping horses, paying his respects to Homer,  
going for a drink with Ajax to the inn, The Red Scamander, and at the  
third glass of wine his heart, whose palpitations we ought to see, Pops 
 out of his jacket like a huge red balloon and flies over the Gulf Of  
Rapallo. This is how we make films out of the most secret movements of  
genius.

 Thus we shall ridicule the works of the passéist poets, transforming 
to  the great benefit of the public the most nostalgically monotonous  
weepy poetry into violent, exciting, and highly exhilarating 
spectacles.

	3.  	 Cinematic simultaneity and interpenetration  of different times 
and places. We shall project two or three different visual  episodes at 
the same time, one next to the other.

	4.  	 Cinematic musical researches  (dissonances, harmonies, 
symphonies of gestures, events, colors, lines, etc.).

        5.       Dramatized states of mind on film.

	6.  	 Daily exercises in freeing ourselves from mere photographed 
logic.

	7.  	 Filmed dramas of objects.  (Objects animated, humanized, 
baffled, dressed up, impassioned, civilized,  dancing—objects removed 
from  their normal surroundings and put into an abnormal state that, by 
 contrast, throws into relief their amazing construction and nonhuman 
life.)

        8.       Show windows of filmed ideas, events, types, objects, etc.

	9.  	 Congresses, flirts, fights and marriages of funny faces, 
mimicry,  etc. Example: a big nose that silences a thousand 
congressional fingers  by ringing an ear, while two policemen’s 
moustaches arrest a tooth.

        10.      Filmed unreal reconstructions of the human body.

	11.  	 Filmed dramas of disproportion  (a thirsty man who pulls out a  
tiny drinking straw that lengthens umbilically as far as a lake and  
dries it up  instantly.)

        12.      Potential dramas and strategic plans of filmed feelings.

	13.  	 Linear, plastic, chromatic equivalences, etc.,  of men, women, 
events, thoughts, music, feelings, weights, smells, noises (with white  
lines on black we shall show the inner, physical rhythm of a husband  
who discovers his wife in adultery and chases the lover - rhythm of 
soul  and rhythm of legs).

	14.  	 Filmed words-in-freedom in movement  (synoptic tables of Iyric  
values—dramas of humanized or animated letters—orthographic  
dramas—typographical dramas—geometric dramas—numeric sensibility,  
etc.).

 Painting + sculpture + plastic dynamism + words-in-freedom  + composed 
noises  [intonarumori]  + architecture + synthetic theatre  = Futurist 
cinema.
_______________________________________________
piksel mailing list
piksel@xxxxxx
http://plot.bek.no/mailman/listinfo/piksel
http://www.piksel.no