TO BE in contact, immersed in space, is a multi-morpho-chromophonic bombardment of quantityvolume, blocks of reality Real in the Existing. In “my conditioning,” I slow perception, I let a small fraction of the Entire-Continuous- Simultaneous come to the surface… oh is an approximation indication of Real Reality, it reveals itself as a multiple structure, a sum of elements, superimposition. As I film, I neither see nor do I go beyond my shit, I register… I recreate fractions of perception, instants of the cosmic continuous. A flash, a perception of/for
My “movie camera”… imitateslimits-
distorts (through impression)
alters remainders that have already
been perceived as a real whole.
Me! I am the movie camera!
the first movie camera of the Universe
Oo… is one million ten million years old
Oo…fixes the real whole in layers…
cortical zones of millions of Din, Asa, Gost
Man still believed, still believes, to give his intelligence significance in the power of Science, sublimating it in the movie camera, a new piece of equipment – ElectronicOrthopedic – a grafted, substituted organ… to which he has entrusted “perception,” its Victory is its Loss – this miracle of the fags of technology – technology is an advertising slogan: “As sensitive and luminous as the human eye.” (P. Bargellini)
the Sun the Sea the
Landscape the Moon
Happy spontaneous joyful,
dynamic fusion love of that
Oh marvels! reveals itself to
The existent: images seen
The Vision: impressed by the
flash… the thunderbolt
The dynamics: burnt in
suspension… in a cradle as I
sway in Opium honey.
TO BE in contact, immersed in space, is a multi-morpho-chromophonic bombardment of quantityvolume, blocks of reality Real in the Existing. In “my conditioning,” I slow perception, I let a small fraction of the Entire-Continuous- Simultaneous come to the surface… oh is an approximation indication of Real Reality, it reveals itself as a multiple structure, a sum of elements, superimposition. As I film, I neither see nor do I go beyond my shit, I register… I recreate fractions of perception, instants of the cosmic continuous.
A flash, a perception of/for
Pierfrancesco Bargellini (Arezzo, 1940-1982), also known as Piero, bought his first movie camera when he was 20 and pointed it at his youthful passions: competition cars and motorcycles. A few years later he met Marco Melani, who became his cinema companion and an actor in his films. He started to make a name for himself in the world of amateur filmmakers and won a prize at the festival of Montecatini. One of the members of the jury was Massimo Bagicalupo, a founder of the Cooperativa cinema indipendente, and he invited Bargellini to enter the brand-new world of Italian underground cinema. While working as an agronomist at the Val di Chiana Irrigation Office he continued to make films in his free time, but shortly afterwards, with the notice and support of the magazines “Cinema & Film” and the group “Filmstudio 70,” he left his job and moved to Rome. Here, during the early 1970s he worked occasionally for RAI and carried on his activity as an independent director in the world of underground cinema. During this period he suffered a series of misadventures with the law and ended up fleeing to Turkey with his wife Oriana and their daughter Rebecca in 1975. After returning to Italy he continued experimenting, jotting down his discoveries in a series of notebooks and fruitlessly trying to find financing for various projects for experimental programs for Rai. Bertolucci and Storaro consulted with him during preparation for La Luna (1981) to try to resolve problems with various special effects. But Bargellini progressively lost contact with the world of cinema and shortly thereafter his troubles with the law began. He was found dead, officially because of an overdose, at dawn on July 10, 1982.
Il teschio; La fiera dei sogni; L’incompiuta; Club 3P Battifolle (1965), Anno 2000 (1965), La striscia (1966), ...vi prego di accettare questo semplice bouquet di parentesi appena sbocciate ((())) (1966), Questo film è dedicato a David Riesman e si intitolerà «Capolavoro» (1967), Morte all’orecchio di Van Gogh (1968), Fractions of Temporary Periods I parte: Ovvero Plans- Séquences per una bambina (1965-1968), 360° di cinediario (1968), Tempo-Tempio-Ritratto (1968), Macrozoom (1968), Baraccone (1968), Water-Closet ovvero attesa per una defecazione (1968), Stricnina (1969- 1973), Fractions of temporary periods II parte: Due ore pomeridiane della bambina (1969), Trasferimento di modulazione (1969), Nelda (1969), Un ottofilm di Pierfrancesco Bargellini (1969), Zukie (1970), Gasoline (1970), Bacino Casa del lupo o di Tonino Massimo e Piero (1970, esiste solo in stato di frammento/only fragments), Oracolo (1970-1971, distrutto dall’autore nel 1974/destroy by the director in 1974), Erinnerung an die Zukunft (1970, non terminato/unfinished), Due silenzi e un’armonica (1971), Dove incominciano le gambe (1974)
Dispersi/Lost: Saluto (gennaio/January 1968, 8-16mm, 18fts, sonoro/sound, 3’30’’, bn/bw), Relazione filmata (1968-1970, 8mm, 24fts, sonoro/sound, 13’, col.); Abbandonate ogni illusione, preparatevi alla lotta (co-regia/co-director Marco Melani, Stefano Beccastrini, 1969, 16mm, 24fts, 40’, col.-bn/bw)