Peleshian

"It's about what I'm striving for, what we're all striving for - every person, humanity...the wishes and desires of the people to ascend, to transcend..." (Peleshian on his film "Our Age" - from an interview with MacDonald in "A Critical Cinema 3").

"...I was thinking of everything. It's not specifically the seasons of the year or of people: it's everything." (ibid)

"Eisenstein's montage was linear, like a chain. Distance montage creates a magnetic field around the film... Sometimes I don't call my method "montage". I'm involved in a process of creating unity. In a sense I've eliminated montage: by creating the film through montage, I have destroyed montage. In the totality, in the wholeness of one of my films, there is no montage, no collision, so as a result montage has been destroyed. In Eisenstein every element means something. For me the individual fragments don't mean anything anymore. Only the whole film has the meaning." (Peleshian - ibid)

"For me, distance montage opens up the mysteries of the movement of the universe. I can feel how everything is made and put together; I can sense its rhythmic movement." (Peleshian - ibid)

Sergei Paradjanov (also of Armenian descent) called Peleshian one of the few authentic geniuses of cinema.

En una página, encontré algo hermoso, habla que la grandiosidad de Peleshian parte o va de la mano de la libre asociación de imágenes en sus documentales. Poesía. Provoca emociones desde algo muy propio y el espectador entoces percibe la realidad también a su manera, la aprehende, siente.

Cosmonauts in Distance Montage (link)
Se habla que The Seasons es sobre la relación del hombre y la naturaleza. Como yo lo veo, hay armonía. The End The train itself feels like a microcosm of the whole world, each of whose inhabitants is moving towards an individual destination but the totality of them going in the same direction. End is perhaps the kind of vision that Damiel (Bruno Ganz) saw in the train in Berlin in Wings of Desire (1987), considering the voyeuristic nature of the camerawork in this film. There are also a few outdoor shots, of mountains (again) and of the sun, that punctuate End. If Life’s ending shot seemed to seal Peleshian’s faith in humanity, the closing shot of End brings back the lifelong dialectic between cynicism and optimism that has so consistently characterized Peleshian’s work. We see the train, after a very long passage through the darkness of the tunnels, suddenly plunging into blinding light. Before it is revealed to us what lies beyond, the end credits roll. Is it a man-made apocalypse foreseen by Earth of People? Is it the Great Armenian Earthquake? Or is it the ultimate redemption for humanity that Life suggests? Looking back at Peleshian’s body of work, it is probably the latter. http://www.cinemaseekers.com/Peleshian.html http://www.parajanov.com/seasons.html

http://theseventhart.info/2009/08/08/the-view-from-above-films-of-artavazd-peleshian/
http://www.springerin.at/dyn/heft_text.php?textid=1444〈=en

http://en.wikipedia.org/wiki/Artavazd_Peleshyan