George Kuchar vs. Guy Maddin

Sunday, October 3, 2010
Winnipeg, MB

Thank you WNDX for posting this memory of George Kuchar in a panel with Guy Maddin from last year’s festival:

“Worlds Collide as George Kuchar and Guy Maddin sit down to chat about many topics including piracy in the digital age, encounters with UFOs, aliens and bigfoot, wild eyebrows and pornography. Moderated by WNDX Programmer, Irene Bindi.”
-Jaimz Asmundson, WNDX

Also, below an article about George Kuchar’s Weather Diaries and other films by Video Pool Distributor Tom Kohut.

A Short Note on George Kuchar’s Weather Diaries and Other Pictures

I don’t think that the work of the late George Kuchar can be appreciated in the fullness of their power without reference to the theories of another George… Georges Bataille. Both Georges operate under a similar set of axiomatics: transgressive sexuality; transfiguration through excremental abjection; a fascination with religious ritual, particularly when it is coupled with eroticism; acephalism; corporeal sacrifice; the practice of joy (before death). There are tempermental differences to be sure: Bataille was anything but camp, and it is hard to imagine Kuchar, by no means an unintelligent man, writing on political economy. Aside from the themes enumerated above, what Kuchar and Bataille share in particular is an uneasy relation to the genre of their choice. Bataille’s novels, in phantom collaboration with his essays on art, religion, and anthropology, exist in the evanescent (or rather, excremental) territory between metaphysical elaboration, psychological destitution and pornographic blasphemy. They are paraliterary; the terms of their creation and signification are not exactly those of literature per se, but nor can they be located elsewhere. Similarly, Kuchar’s films are certainly films, but again….not quite. They exude an otherness: they contain much that is voyeuristically pornographic, although not necessarily erotic; there is is a certain complicity with trash, waste ā€“ from the food he consumes, the means by which he entertains himself, the focus on his own bodily functions, through to the locales he chooses ā€“ that cannot be incorporated into even the most expansive definition of avant-garde cinema; even his role as protagonist fails to draw viewers into what little narrative there is. (Kuchar spends most of the Weather Diaries complaining about how bored he is waiting for a storm to come; when one does, he hides under hotel blankets complaining about how he can hardly wait for it to be over. There is a metaphor about life somewhere in there.) We are not even in the realm of the Verfremdungseffeckt; our alienation from the stormchaser does not cause in the audience even the slightest incitement to thought, let alone political action. Instead, we are simply bemused, sometimes irritated, often disgusted. In Kuchar`s work we can posit the inaugural moment of the para-cinematic.

-Tom Kohut, Video Pool‘s Distributor

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~ by cineflyer on September 12, 2011.

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