Carmelo Bene

دەربارەی ئەکتەر

The filmmaking career of Carmelo Bene (1937 - 2002) lasted from 1968 to 1973, six years out of a lengthy time spent in the theater that made Bene one of the most celebrated figures of the Italian avant-garde in the second half of the 20th century. Bene first made a name for himself with a controversial production of Camus’ Caligula in Rome in 1959. Subsequent productions retained this sense of notoriety, and Bene (like Pasolini) quickly acquired a police record. Bene, however, would come to bemoan the controversy his work created, because it attracted an audience looking for shocks and titillation, while he himself was more concerned with reinventing the vocabulary of the theater: sets, gestures, texts. نۆرەی بێنێ بۆ سینەما ئەو هەوڵەی فراوانتر کرد بۆ دووبارە داهێنانەوە. His films resist synopsis because, although they are often derived from narrative sources, Bene uses these sources against themselves and as a springboard for his critique of the stultifying traps of representation and interpretation. The films are wildly inventive and visually arresting on several levels: the performance styles of his actors, including eccentric movements, gestures and grimaces; سێت و جلوبەرگ و ماکیاژەکان؛ دەستکاریکردنەکە؛ and the use of the camera, with stable shots regularly punctuated by handheld camera work, extreme close ups and the occasional baroque use of zooms, dollies, cranes, elaborate pans and exaggerated camera angles. ئەوان لە شتێکی وەک کارەکانی جاک سمیس دەچن کە لەگەڵ پاسۆلینی تاقیکاریی تیۆرێما و پیگستیدا بڕاوە. یەکێک لە تایبەتمەندییە بەردەوامەکانی کارەکانی بێنێ، تەنزەکەیە لەسەر هێتەرۆسێکسوالیتی. هەردوو ڕەگەزەکە بەردەوام لە هەوڵی پەیوەندیکردندان لەگەڵ یەکتر، بەڵام هەمیشە شکست دەهێنن لەو کارەدا. Bene’s work constantly deflates masculinist pretenses at mastery: his male characters tend to be hapless and often hysterical, while his female characters are alternately predatory and remote, and unknowable in either case. بەڵام ئەم تەنزە تەنیا دیارترین فۆڕمی ڕاپەڕینی بێنێیە لە دژی ڕێکەوتن و پەیوەندی. دووبارە و سێبارە لە فیلمەکاندا کردارەکانی ڕۆژانە بە شێوەیەکی بێهیوا ئاڵۆز دەبن یان بێکۆتایی دەبڕدرێن. His characters often end up staring quizzically offscreen or even into mirrors, as if they were no more sure than we are of the meaning of what they see. لەڕاستیدا پێدەچێت ناسنامە و بە دەزگای درێژکردنەوە هەڵپەسێردرێت، لەگەڵ مانادا. ئەوەی ماوە بۆ چاو و گوێچکە تەماشا و مەتەڵێکی شکۆمەندە: مۆسیقای بێکۆتایی؛ دەقی قسەکردن، لکەلکە؛ وێنەی زیادەڕۆیی و ورووژێنەر. – دەیڤید پێندڵتۆن