nites oF neALism B hay on Cope Cena Bited by 1VONE MARGULIES : DUKE UNIVERSITY PRESS. Duchim and London 2005Death Every Afternoon, ‘Ade Basin ‘eanlted by Mark A. Coben ‘understand tht Pere Beazberger nurtured the ides for this fle for ‘it some time. Th: esl shows that it was worth t The chances are that potedaicionid ite Braunberge sa nothing more in th poojectthan¢ tohonor and peomote bullighing 2 well male film his peodvcer ot regret, From this point of view, it was probably a good invet- deservedly 50 must add—becae bulligh lovers wl ath to 06 he uninitiated wil go ou fearon. donot think fans willbe because te footage i exceptionally fine. They wil ind the famows matador in action, and the shots Brnberger and Myriam, compiled and edited ae aseonishingly effscive The blights mast, cea filmed copiously and repeatedly foe the camera to convey the ionofthe bung so completely. Many are the pase nd coups degrice ering tp events featuring tar, which ford ws long, prctaly takes in which the faming of man and animals never tighter than shot oresen an American shot. And when the head ofthe bul sto the foreround tis not a seed head che ces lows. Ta fal tobe s0 astonished by Myriam’ alent. She edited with diabolical il, nd you have eo pay cael tention tose that che bull that cons ito view fc the Kft sane aye the ong ‘hat lef the sren fom he right. So perfectly do the mnches on ction onccl the articulation othe shot chit che fil would have tbe viewed with « moviols vo distinguish with certainty betwcen single shot ancy sequence created by puching together ive o ix ferent shots’ With owt us noticing the wich, a "yeroni!” begining with ne mutador ond bull ends with sdioent man and ferent animal. Since The Sry 4 Clot (Le Roman Sr Taher) and expecially is oo, everyone ky ‘hot Myriam sa bein itor, The Bulfigh ha prove tye gain. When, itis thisgood, heart of th editor goes well beyond its wal fancit—i an essentl element thin’ xeaton Such conception of montage ‘ilo calls for further discusion. Ae ive here i somedhing quite difercer than a reir tm the old primacy of montage ower oupage (Ahoting ‘crip a tught by euly Soviet cinema, Nether Pris nn nee The Bl faite "Kino eye” They “modern” works sesthetilly contemporary with the dcoupige of fs such as Con Kine, Rules f te Cy, Ta Pipe a tk Thins. Te yo oF the eitng isnot to suggest sybie and abract inks between ihe mages. Kolechows fama eaperinen with the close-yp of Mochi. If che phenomenon revered inthis ex. Pete to pay 2 role in his neomontage, es oe a adil iene Purpose ofall both che physical vesiulcade of th: dcoupage and te logical mulesbiiry. The image ofa naked woman fllowed by Monch. kis ambiguous aie sgofissacousnes and desi: What aoc, the ‘mora sgifcane in somesems press he pyc one: he image of Dako wosan plus image ea smi eal desire No dubs the eatnce of desi focally implies thst the mi loking tthe won, but this {rometry sot tere i th imagen. The deduction is alms pete, for Kulechov, morcoer it secondary, What counts ee mousing given to the smile by ee colsonof images In thi cs, the rlaionship squite litre. Myriam sins abore lla physical teatsn, The deception ofthe ‘citing spor the vorsnltude ofthe dcoupage. The linkage of to bull single movement does wot syinblie the bull stenggh it ‘epttionnly replaces the photo ofthe nonexistent ball we believe wea seving The editor makes seas of het editing jus ashe ditcctoro Us Je «coupe, based oelyonthiskind of els, Kiso longer the emer ee, ‘bute adapationot editngtechnigue tothe aesthetic ofthe cane pon? ‘Thats why novices ike me wil i in hii the cease and oe "horough iodctiom inginbl, The Fotage was not eed randomly 38 ANDRE aznlingo the shot spectacles but with reion and laity Fhe bizory of bllghtng (and of dhe bulls bred for andthe evolution Tr figing syle up and since Belmonte ae presented with al the di- Gh rsoures of che cinema. When figs isbeing desaibe, the image Jpfroten ot the crite moment and the commentator explains the eative orion of man and animal, Probblybecae they did not have access fo low-otion equipment, Piese Brunberge relied ona tac, but the Freee eume nace? Needles sy the daci quite ofthe fin re lo slim or 50 t would appent. The project is es grandiose and all onbracing than Hemingyay's in Deuth nthe Aeron. ‘Tle Bulli might Secmnothing more than afeatere-length documentary, afucinsting ons beware, burstilla"docunentary” This view would be unjestand mistaken, nj Bocas the pedagogic humility wih which t war avid oat isles fsign of limitation than of» conscious refs, Faced with such 4 ged fahject, sue rich mater, Pere Brauberger acted in ll bum The Comontary resets itel to explanation: void afc verbal cian that woul be overwhelmed bythe objective Ici ofthe image. Mis~ takea, oo, becaase the mbject tanicends itself and his means that Pare | aunbergers project perhaps even pester cinematiay than he coud ave imagine. ‘The experience of lined theater—andit slo total Eilare wai some recent success redefined the problem—bas made us avare ofthe role payed by real pesence, We know thatthe phoeographic image ofa pay aly givesit bck tous emptied of is peychlogieal reality abody without 2500 The reciprocal presence the sh andboodconfrotation of viewer ‘and actor, isnot asimple physic acident bat an ontologil fc conti tive ofthe peromance such, Stating from thischeoeteal given swell 24 from experience one ight ner thatthe bllight cw secincinatic han the chester, Ices reality cannot be captured on cll what about the tragedy of tauromch, ofthe liturgy and the ost religious Feling chat accompanies. A photograph of bulligh ght hive some documentary or didactic value, bat how could it give ws hak the evence ofthe petal, the myx rad oF animal, man, ander have never been co a baligh, and it would be ridiulous of me to aim that dhe fen les re fel the same emotions, ba do clin tha it ives net eset quality, te metaphysical keel: deat. Te ragicbal= Je of the bullgh tur around the presence and permanent pouty of death (at ofthe aie and the mae), That what mabe the ng nto patie rvany arrenxoon 29someting mone dan deste ge: death played ont. The tend ys fr iH ks che trpoz artis withor a et, Death surly ng of those rr evens at juts the rer, s0 Beloved of Che Maveon erate iy, Ae of sine, ema bit the exorbitant prvi of ewing ts pig common o all mechani arts, but one ttt top ‘se wich nfritely geste porenval than recon o radia Let wb exe Imote prvi since there ae othe emporl ats, ike mii: Bee ead {ime x immcdiely and by definition aethetc time, wheres the enon gi- ‘Blotocenity Before cinema there was ony the profamation of eorpsesand the desertion of toms. Thanks co lm, nowadays we en dseerteand Showat willthe ony one of ou porns thats temporally inalenble ‘dad without requiem, the eternal dead-agin ofthe cnema* Timagine he supreme cinematic peveesion would be the projection af an execution backward like thoe comic newicecls in which the ever “jumps up from the water bck ont his diving board "Thee observations have ot taken me 0 ara i seems rom The ull fi Ove wl understand me if say thatthe fila of performance of ‘Molle Molde Iman bas no theatre or cinematic valve bu hat if the camera had been presen st Moite' final performance it would bean amazing ll “Tie why che sepresemtation on screen of a bull being put co ea (which posoppore tat he mana isked death) isin principles moving ashe spectacle of che el instant chat it reproduces Ina ceain seme it is even more moving becase it magni che quality ofthe original n0- ‘nt through the coer ofits epstition. Ie confer on it an additonal solemnity. The cinemabas given he death of Manoletea material eer (On the seen, the toresdoe dice every afternoon. Notes Amora isa phat mahi, “Tanne nt: ion it Th nif ea voice-over commen mtn by Mich Lei ti pol np hoyle, pty he ‘Alanis Asa em tr age [Revere fic opt se “Dams ob he Foch hs wick ome ning 4 Tanta Nae deshoy afer Gling Demtage ding apr of py in or