https://ogma.newcastle.edu.au/vital/access/ /manager/Index ${session.getAttribute("locale")} 5 https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:35246 Wed 03 Jul 2019 09:58:01 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:43646 Tue 27 Sep 2022 10:55:48 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:24940 Thu 13 Sep 2018 17:08:51 AEST ]]> 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:13327 Sat 24 Mar 2018 08:17:02 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16238 Sat 24 Mar 2018 07:53:35 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:6693 Sat 24 Mar 2018 07:46:12 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:6430 Sat 24 Mar 2018 07:45:20 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:27657 Sat 24 Mar 2018 07:38:50 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:28758 Sat 24 Mar 2018 07:24:49 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:28719 Mon 26 Mar 2018 17:58:35 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:32612 Mon 23 Sep 2019 11:29:52 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16240 Mon 09 Apr 2018 11:10:38 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:42979 Fri 09 Sep 2022 13:49:30 AEST ]]>