Injustice: Workingman's Death leaves NYC theaters after only a week, and I--who have wanted badly to see this film for months--missed it! I had counted on at least two weeks at the Cinema Village here, it seemed only customary for an interesting documentary ...
Reparation: At least I'll see some New York Underground Film Festival stuff this weekend. The new James Fotopoulos? Some Kluge? OK, we're go!
Point to Ponder: I can't claim to have read every section of Deleuze's Cinema books, but neither my memory nor the glossaries indicate that he ever mentioned Albert Kahn, who was a wealthy banker-philanthropist who had a project known as the Archives de la Planète. (In this it's obvious to be reminded of another figure from this time period, Aby Warburg, who fascinates me--the wealthy German art and cultural historian whose lifelong dream was to create a Mnemosyne Atlas [and Warburg's example was in turn a partial inspiration for the younger Walter Benjamin's Arcades Project].) At any rate, apparently this Archive is a treasure trove of unedited 'documentary' or 'actuality' material (film strips, autochromes) that Kahn and his employees/associates put together over several decades at the beginning of the twentieth century. I have not seen any of these films myself, of course--though they have been written about in English by film scholar Paula Amad (U of Iowa), Sam Rohdie, and Teresa Castro (I haven't read all these sources yet). What is interesting about Kahn, and the reason why I mention Deleuze, is that Kahn's intellectual mentor and friend was Henri Bergson, who of course is so important to Deleuze's work on cinema. Deleuze, as has been noted by a filmmaker whose work I first sampled not long ago, is a cinephile, he likes good cinema, which is why his books deal mainly with canonical figures and titles--but more than this, if Deleuze is a cinephile in the sense Moullet suggests, perhaps this explains why Deleuze can't be bothered to deal with a mere 'atlas' of footage, as Kahn has accumulated, since it isn't The Cinema, it isn't Griffith-De Mille-Gance, nor Renoir-Bresson-Tati, nor Ford-Hawks-Preminger, nor Mizoguchi-Kurosawa-Ozu, nor Cassavetes, nor Pialat, nor Syberberg.
That is to say, there may be a lot of 'Deleuzian' work to be done on orphan films, 'incomplete' films and fringe films of all kinds ... and the Vogel Call will eventually be complemented by the Deleuze Call.