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Culture of Death

just born
and I want to kill him.

few decades ago-three to be exact, "it became fashionable to quality management in the company. Systems were implemented statistical process control (SPC), were disseminated Deming's 14 principles (as now the thesis of Cluetrain ) proliferated fish bones Ishikawa, adopted Six Sigma methodologies and various entertainments, until reaching the hollow ISO-9000 and the famous TQM.

handfuls After reading articles in the Harvard Business Review on the revolution of "Quality Management", the first thing was the general director was to give the company a quality manager. It was given an office, was commanded to do a master in Japan and is ranked high in the chart, just below the commander in chief. From that time the quality was up to him. And only yours. Production lines that once produced "defects", for lack of training or robust systems in factories were located miles away from the office of Quality Manager. Delivery errors in the distribution, design errors, shock in store ... all that belonged to the real world, not ideas. And the quality was an idea, graphics and slogans on the bulletin boards gathering dust and receiving looks of disdain for hard workers.

However, some Japanese companies copied the practices of quality circles to carry on site. From there, the facilitators of these circles were limited to inculcate the spirit of quality that began to materialize in the army and navy. The quality manager was relegated to the ISO 9000, while the methods of causal analysis and continuous improvement methodologies were eventually assimilated by the players actually depended on the quality.

quality management, today intrinsic in the production process had to be incorporated sociological change the result of a noun: the rise of the middle class, increasing purchasing power, increase market competitiveness, and overall, the change of a strategic approach focused on the production, to one focused on the market. A change that transformed the way companies organize. The

social media represent a revolution for the management of marketing and corporate communications. The figure community manager is a tool that can facilitate change, but not an end in itself. The importance of social media for business, can not (should not) reduce the scope of "the child of social networking." The most advanced firms understand the importance of integrating the role of "Community Management" in all areas of the company. Maybe incorporate a community manager to manage the transition , but their role will primarily organize, disseminate and evangelize internally.

Other companies will be looking at the finger.


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Photo: Mugley .

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Rohmer's greatness is not screaming and pointing, just lit up.

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Dreaming Eric Rohmer (1920-2010): the search for the invisible

Although occasionally surprise us, as in that wonderful introduction to his Winter's Tale, Rohmer's films have always been characterized by, among other things, to dispense with extradiegética music, not have soundtrack, which must make sense to today's viewers to see that his film is pure music, that each of his films is a symphony in itself, in which images and words, time and space, drawing the line are fed a perfect score imaginary. In these circumstances, needless music. Is the music.

Because if something linked to the directors of the Nouvelle Vague is to understand cinema as means of life, and live life as you live the movies. Therefore, to Rohmer film was an art of arts and, therefore, the film was the life and reflected a path of discovery of what is usually hidden from us routine. Yes, life plays hide and seek, and art in your search, go through the forest finding clothes that give hint of what we are and what we will. This was the Rohmer film, obsessed with the pursuit of beauty and magic occult everyday life, obsessed with delving into the interstices, in those places ambiguous, between the heart and desire, between the brain and conjecture, not really know where or to whom they belong. Rohmer is the magic of the infinitesimal variations, combinations, chance, purity.

few hours ago that Eric Rohmer has left us, and what I feel is to see that this can not be extended shelter library staff involved in their films.

There is something amazing in the work of Eric Rohmer, and it is his ability to play different levels, ie can empathize with their very different films from optical, either through an analytical, purely intellectual, either through a formal and Cartesian view, like him, attentive to time and space, how to tell and to show, that purity of essence achieved by stripping it sometimes seems extinct in a world saturated with rhetoric, either through its multicultural game, aware of the pictorial references, historical or literary, either through the idea of \u200b\u200bcinema as shelter of their own lives, as a mirror and therapist, or whether through connecting with their characters, sometimes shy and sometimes arrogant, sometimes mournful, sad or vitalistic, religions and intellectuals generally, but in the end always fragile, unstable, weak and flawed, like all human beings, hanging by a thread that often try to hide. Rohmer gets to the essence of human being, and therefore is able to reflect all, reflect all through characters with a very limited range of features. Never mind, never mind: It's known that you can make it to all from the most local, the most concrete. But back to the level of understanding rohmeriana, movies created addicts, especially those who are constantly looking for beauty around you, beautiful images and sounds, beautiful ideas and emotion, beauty that finally emerges from abstraction, and fans will see them in that quest Epicurean (rather than the realization itself) a source of vitality and survival. Rohmer

mathematician. Rohmer the perfect geometry. Rohmer struggle putting the privacy and sensitivity of the emotions suggested in the coolness of a mind that sometimes persists in hermetically isolate the world of ideas in the world of emotion.


religiosity, Catholicism, has marked the work rohmeriana from the beginning, as you can see the nuances implicit in Dostoevsky's The Sign of Leo and as a statement or early in their final My Night at Maud's. But more than that, and this is what humanizes him and makes him one of the greats, Rohmer's films are marked by constant doubt, that doubt did not know whether or not to lie Maud, whether it is worthwhile to expand the collection of female conquests as it expands a set of butterflies, if women pursue leads flyer somewhere, or is justifiable only for the mere pleasure of watching and looking, if chance is a cause or a consequence, if the illusion to see the green flash can change the way you view life, if the cider, crepes and summer can be summarized a way of feeling, if you can make a matchmaker in the middle of fall season, or if the political intrigues in the middle worth of human relationships, whether in full French Revolution or the English Civil War.

Rohmer with his long shots and endless dialogue.

A challenge: to deal in depth without being moralistic morality, drawing a look equidistande between responsibility and desire, between duty and what makes life worth living. Ambiguity is often steeped in grandeur, and the lack of answers is often the best questions, even when irony is established as the only possible salvation. Like Rohmer's irony is vision and beauty, and not taken too seriously himself or to others divests his films what a load of gravity that makes them irresistible to the perfect pair.

If Truffaut was the lover of love Rohmer was the watchers, the student of sentimental love, erotic, playful and sentimental in all its variations, combinations and possibilities. As a non Perec liked to beat around the bush.

But we must not forget that not everything at Rohmer are amorous encounters and either the city or the countryside, on the beach or the mountains, a very important part of their success are a willingness to experiment and art, that runs throughout his work (always risky and that's always exciting) but it is kind of the most obvious way in his historical films, especially Perceval le Gallois, but in The Marquise of O, The Lady and the Duke, or The Romance of Astrea and Celadon, the last of his works, which can be viewed as a testament and a compendium of all issues and wills of his films, as I said in the text about the film I wrote for Shangri-La few years ago. Rohmer

poet of youth and desire.


We could go on for hours mingling Rohmer, their references of all kinds of painting, literature, music or films that influenced him both on the classics Americans, on Renoir and Rossellini on space and time, how he learned from Murnau to be as geometrically perfect and so relentlessly about his uncompromising way of making movies on his uncompromising on that detail that fascinates us about your women, the chirp of birds that breaks at the right time, about your use of the word, perhaps his most characteristic and what is the true master of cinema with, probably, Manoel de Oliveira. And we could talk about his achievements, his legacy, the filmmakers who have admired and followed, the tributes of Linklater before dawn or dusk, Hong Sang Soo, how far reaching Rohmer pointer from Hollywood to China or Korea, via Spain, by France, of course, and anywhere in the world. We could talk about beauty and freedom.

Rohmer is gone but, as is always said, we still return to their movies anytime, whether conscious desire or by necessity (emotional or physiological), and we still dream at night with a knee Clara climb a ladder or with a light on the horizon that even without necessarily captured. We still dream of Amanda Langlet or Marie Rivière, we still believe that fate can bring back a bus ride that took us one day without asking. We are left with Pascal and we are nights of the full moon flooded the heat this time we do not need to understand a work of art, but she understands them to us.

also leave a very interesting interview with Eric Rohmer for the premiere of The Lady and the Duke, posted on the blog of Francisco Algarin, Much I've been going to bed early time .

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Maud is orphaned

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2009: 10 movie memorabilia

1. EXTRAORDINARY STORIES

I had a hard time choosing this time of year my film experience, which I do not know if it's safe to say, but maybe it's the first novel audiovisual history. Llinás you take advantage of many of the achievements of literature throughout history and make up a fascinating puzzle that contains the best of Bioy, Sabato, Borges and Kafka, with its maze of corridors and claustrophobic, but also Sebald, with its reconstruction of the past, memory and orality and literature classic adventures of Jules Verne, Jack London, and games and lists of Perec. Would not you love this movie Vila-Matas (there are also many their constant)?. For what is extraordinary stories? A high comedy, a disturbing thriller, a daring adventure film, a psychological reconstruction dostoyevskiana subjective ...? Total work of literature and cinema, explicit homages to Hitchcock (Rear Window is the most obvious) or Truffaut (mentioned the argument of The bride wore black) are not random, and there's plenty of games and temporary structural Resnais and Robbe-Grillet and the plots of Rivette. But if something came to mind during the viewing of the film was The New York Trilogy (and not just the red notebook on the man locked in a room or the three stories full of reflections and mirrors) and a very austeriana conception of art and life, with torrential stories about themselves as open endless Chinese boxes. The cat is sad and blue, yes, and the viewer, after seeing the film, inevitably wonder what must be the innate need for stories with which we are born and grow, and why is there this need to share, count, listen, and be surrounded by someone through something ... Extraordinary stories wonders with awe and fascination about the nature and the need to tell the fact, tip and receive at the same time. Invaluable for the greatness of their imperfection in more than four hours.

2. WALDEN AND VISIT Jonas Mekas

As I said at the time, was fascinating and pleasant stay in touch with Jonas Mekas casually after enjoying three hours of Walden. Another unforgettable experience.

3. EUSTACHE CYCLE IN THE FILM ARCHIVE

Because I had to know the work of Eustache beyond its two most popular long, The Mother and the Whore (one of my films header, no doubt) and Mes petites amoureuses. The great cycle of the film library We also found the author's creations such as Le cochon, Les photos d'Alix and, above all, Une sale histoire and fascinating Numéro zéro.

4. LE PONT DES ARTS

personal work of Eugene Green, drinking both Bresson and Buñuel and Rivette. Strictest, but also funny and sometimes disconcerting or even surreal, I do not recall a romantic dream of that caliber from the Marie and Julien Rivette or Jennie Dieterle. Hopefully you how to watch his latest film, The Portuguese religious.


5. Effi Briest

Another fascinating literary proposal, Effie Briest is usually one of the most unnoticed of Fassbinder films (at the time it has become my favorite), but certainly put a lot of the groundwork that has since followed the film Llinás. Never light was so pure and so clean narrative ...

6. TWO LOVERS

Another movie of the year, which inexplicably (for its cast of stars and its director solvent) has not yet gone through the charts. We hope to do soon, because the last work of James Gray is his strongest film, elegant and seamless. Flawless in their execution and their ambitions, Gray released the sweeping energy of love, passion and as always ... the family.


7. INTERNATIONAL RENCONTRES

A cinephile year's events in Madrid were, without doubt, the Rencontres Internationales, concluded between Paris, Madrid and Berlin, which tells Abraham this excellent article. On a personal level, I am left with the fascinating experience to see the Film D'Est, Akerman but can not be present.

8. TOUT EST PARDONEE All

a discovery of this girl, Mia Hansen Love, who made the leap across the chambers of the best possible way, with this impeccable family drama shows intricacies of parenthood, commitment, and finding oneself through the father figure.

9. OF TIME AND THE CITY / MY WINNIPEG

Diptych involuntarily on the city, memory and shared secrets. Each with its most peculiar style, Davies and Maddin us into his past as best they know how. The spectators, let us go.


10. commercial release

Because some were already seen before, never thinking that would be released (some have been bad and later released), but I have to mention my favorite of those who have gone through the charts in 2009:
PARANOID PARK
1.-2.-A CHRISTMAS CAROL
3.-THE RED BALLOON FLIGHT OF THE DAMNED BASTARD

4.-5.-THE LIMITS OF CONTROL
GRAN TORINO
6.-7.-YUKI AND NINA
STILL WALKING
8.-9.-SINGULARITIES OF A BLONDE GIRL
10.-WALTZ WITH BASHIR