Kubrick

What Dominique Pagani says

Dominique Pagani returns above all to 2001: A Space Odyssey, which he regards as a masterpiece. He reads in it the passage from animal to human: the monolith from the cosmos brings the tool, which also marks the entry into speech1. He sees in it a "supernatural decree", a biblical vision in which there is no progress without God2, and he notes that the first tools in the film are weapons. He contrasts the smooth, polished space station with Solaris: a world without a love story, where the body no longer has a place3, which the Strauss waltz renders as sanitised, puritan comfort4. He dwells on the dismantled computer, which regresses to a nursery rhyme and never seems so human as when it says it is afraid. From Barry Lyndon he retains the use of Schubert's trio5. He also mentions Eyes Wide Shut, Spartacus and the German furniture in his films. He cites Kubrick among the Americans he holds in devotion.

1. 1L'île du Peuple : le débat23 Jun 2015 · 1:18:55
2. 2#6.6 • La Logique du Sujet face à la reconstitution du nazisme29 Mar 2020 · 17:49
3. 3#10 Bien-et Mé-faits de l'amnésie...24 Dec 2020 · 27:49
4. 4Musicosophie 2. De Lévi-Strauss à Nerval à propos de la musique3 Dec 2020 · 1:05:34
5. 5SCHUBERT - LES CAPTIVES DIVINES • Pagani Parle Musique3 Aug 2022 · 14:55

Summary produced automatically from 26 of the passages below, to be reviewed; the numbers link to the moment in the session.