https://ogma.newcastle.edu.au/vital/access/ /manager/Index ${session.getAttribute("locale")} 5 https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:53502 Thu 30 Nov 2023 15:57:17 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:7810 Sat 24 Mar 2018 08:37:36 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:8183 Sat 24 Mar 2018 08:36:15 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:8073 Sat 24 Mar 2018 08:34:25 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:2582 Sat 24 Mar 2018 08:28:51 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16344 Sat 24 Mar 2018 07:50:43 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:5206 Sat 24 Mar 2018 07:47:46 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:29429 Out 1: Noli me tangere (1971), Out 1: Spectre (1972), Céline et Julie vont en bateau: Phantom Ladies Over Paris/Céline and Julie go Boating (1974), Duelle (une quarantaine) and Noroît (both 1976) is what I call the web. Such a key organising principle powers this caché of experimental feature films, a treasure-chest long hidden or difficult to access but now finally brought into the digital light. A loose term encapsulating their much-discussed internal conspiracy theme and the key organisational principle of Rivette's cinema, the web also evokes networks of a less exotic nature, including the banal but vital pursuit of connections between people driven by desire for external meaning and continuity. But it just as easy results in withdrawal and disconnection. The subtitle added to Out 1's long version upon Rivette's definitive 1990 edit, Noli me tangere, is a Latin term meaning "touch me not", "don't tread on me", or more prosaically, "don't come too close." This is an appropriate phrase (with mythic origins attributed to Jesus speaking to Mary Magdalene following his resurrection) signaling Out 1's story of people coming into close proximity and association before moving away without confirmation of ongoing connection. Throughout these five films, the web's alienating, oppressive, and sometimes sinister dimension exists alongside its playful, connective, and creative potential. The result is a cinema at once demonic and utopian. Link: http://sensesofcinema.com/2016/jacques-rivette/jacques-rivettes-1970s-cinema/]]> Sat 24 Mar 2018 07:39:18 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26471 Sat 24 Mar 2018 07:27:15 AEDT ]]>