Glen Luchford and Tabitha Simmons experiment with seductive slow motion in their hypnotic new fashion film

"Stripped back in Luchford's signature minimal and cinematic style, model Jacquelyn Jablonski leaps and twists in super-slow motion against a bare greyscale backdrop. “I wanted it to be about a girl that starts off conventional and then travels around the world in 80 days, adding to her outfit,” explains stylist Simmons. With such a clean aesthetic, there is a pure focus on the clothing, each movement creating graceful silhouettes and shapes.

We asked photographer and filmmaker Glen Luchford about his part in this captivating fashion story:

Did you base the story on anything?
I based it on an explosion scene from a film called Behind Enemy Lines. I don't like the film to be honest, but in one scene a man puts his foot on a land mine and the way the director caught the crumpling body was very unique. I just stole it. ..."

Force majeure

 or vis major (Latin) "superior force", also known as cas fortuit (French) or casus fortuitus (Latin) "chance occurrence, unavoidable accident",^[2] is a common clause in contracts that essentially frees both parties from liability or obligation when an extraordinary event or circumstance beyond the control of the parties, such as a war, strike, riot, crime, or an event described by the legal term act of God (such as hurricane, flooding,earthquake, volcanic eruption, etc.), prevents one or both parties from fulfilling their obligations under the contract. In practice, most force majeure clauses do not excuse a party's nonperformance entirely, but only suspend it for the duration of the force majeure. ^[3][4]

However, force majeure is not intended to excuse negligence or other malfeasance of a party, as where non-performance is caused by the usual and natural consequences of external forces (for example, predicted rain stops an outdoor event), or where the intervening circumstances are specifically contemplated.

wiki

Alban Berg

VICTORX: Alban Berg - Wozzeck -Finale - Barcelona.mpg


Alban Berg - Wozzeck


Alban Berg, Lulu Act 3 (Finale; Torso)


Alban Berg: Lulu [7] akt1 (Ende) - Valentina Valente

Le Maxi Monster Music Show

Kiki of Montparnasse

Alice_Prin

Ballet Mecanique

Ballet Mécanique (1924) was a project by the American composer George Antheil and the filmmaker/artists Fernand Léger and Dudley Murphy. Although the film was intended to use Antheil's score as a soundtrack, the two parts were not brought together until the 1990s. As a composition, Ballet Mécanique is Antheil's best known and most enduring work. It remains famous for its radical style and instrumentation as well as its storied history.

In concert performance, the "ballet" is not a show of human dancers but of mechanical instruments. Among these, player pianos, airplane propellers, and electric bellsstand prominently onstage, moving as machines do, and providing the visual side of the ballet. As the bizarre instrumentation may suggest, this was no ordinary piece of music. It was loud and percussive –- a medley of noises, much as the Italian Futurists envisioned new music of the 20th century.

Lacrimae rerum

Lacrimae rerum is the Latin for "tears of things." The words themselves are from "lacrima, -ae," a first declension noun meaning "tear" (appearing here in the nominative plural) and from "res, rei" a fifth declension noun meaning "thing" (appearing here in the genitive plural).

The term comes from line 462 of Book I of The Aeneid, an epic poem written in Latin by Virgil, one of Rome's most distinguished poets, in the 1st century BC. Aeneas, while crying, says, "sunt lacrimae rerum et mentem mortalia tangunt" as he gazes at one of the murals found in a Carthaginian temple, which depicts battles of the Trojan War and deaths of his friends and countrymen. Translated this says, "There are tears of things and mortal things (sufferings) touch the soul." As he stands there, Aeneas is overcome by the futility of warfare and waste of human life. The burden man has to bear, ever present frailty and suffering, is what would define the essence of human experience.

A translation by the famous classicist Robert Fagles renders the quote as: "The world is a world of tears, and the burdens of mortality touch the heart."

Robert Fitzgerald, meanwhile, translates it as: "They weep here \ For how the world goes, and our life that passes \ Touches their hearts."

Νίκος Νικολαΐδης

LACRIMAE RERUM (1962)

«Ξεκινώντας από τη μουσική, πλάστηκε μια ιστορία που μοιάζει με τη ζωή του ανθρώπου. Ο άνθρωπος γεννιέται, χαίρεται, πεθαίνει...
Το Lacrimae Rerum ξεκινά από φωτογραφίες εξωτερικές σε νεκροταφείο καϊκιών όπου η άμμος δίνει την αίσθηση της υπόγειας ζωής σε αντίθεση με το «τελειωμένο» των σάπιων όγκων που φαντάζουν σαν σκελετοί. 
Ο σταυρός στην ακρογιαλιά συνδέεται άμεσα με το εσωτερικό της εκκλησίας που ακολουθεί την αίσθηση του φόβου, του θανάτου, της θρησκείας... και εδώ σταματά η μουσική του Γκρίηκ...

Ακολουθούν νεκρά πλάνα εσωτερικού σπιτιού με τα αντικείμενα σε κατάσταση χαμού και εγκαταλείψεως.  
Ύστερα, σε μουσική Σούμπερτ, τα αντικείμενα σβήνουν έως ότου η φωτογραφία φθάνει σε μια τέλεια παύση.
Και τώρα αρχίζει ο χορός. Το ξύπνημα, η έξαρσις που θα καταλήξει μοιραία στο θάνατο.  Και στην εκμηδένιση. Η κίνησις της μηχανής είναι ελεύθερη προς το κυκλικό σε μουσική Σαιν-Σανς.  

Ο θάνατος και η ανυπαρξία έρχονται μέσα σε κάθετες και διαγώνιες γραμμές ενώ η φωτογραφία γίνεται συγκεχυμένη.
Η κούκλα σπάει συμβολίζοντας τον θάνατο με την έντονη ασπράδα του προσώπου της και ο χρόνος σταματά στο ρολόι. Το κερί συμβολίζει την αιώνια ανάμνηση και τα τρία σύμβολα ενώνονται στο τελευταίο πλάνο.»

«Η ταινία είναι ένα βιντεοκλίπ πάνω στην ημιτελή του Σούμπερτ».

reference: http://www.nikosnikolaidis.com/main/index.php?option=com_content&view=article&id=5&Itemid=11