Cinema is dead, there 'any more. Buried by tons of advertising, swallowed up by the so called entertainment industry, has now released the field by his presence.
What was, was replaced by the production on a global scale of the phenomenon we might call "creation and continuous recurrence of AD and widespread mass"
memory without forgetting is but pathological obsession, forgetfulness alone is the negation of every memory, every concept of time as possible, the overcoming of all forms of resistance and critical articles to a stimulus before, ol'inutilità ignorance 'of any code of interpretation. When
then and it is our case, the onset of oblivion is serial, which can not be a goal.
Nine times out of ten films c'ingoia for us to attend and images that have deliberately built the mechanism of self: we see has already begun to remove and forget: we go out and already we are ready to swallow another film, bulimic of nothing.
weapons available, many are deliberately used (banality, repetition, cliches, conformity, mannerism, reworkings of situations already metabolized television narrative rhythms dishes). On the other hand most of the "film world" has been moved bag and baggage, to make TV movies: drama, the modern top ministry official.
escape routes by the approval, by the multinational oblivion, there are many: in film quality, more and more niche, fenced and protected, what it 'right and proper to something that is endangered. Which is not a multi-closet "essay"? What cinema does not have its Wednesday or Tuesday, for the protection of minorities?
There is, however, 'another way, much more efficient, more effective and, above all, more adventurous.
fights openly, shut themselves up in rooms without essay, elbowing, seeking his audience and not waiting, inventing its space, renovating the language techniques, daring, spending and getting his hands dirty: we are talking about (obviously) of the documentary.
years is the cultural phenomenon that digs like a mole of old memories, that we know well, to open gates and draw paths.
We simply brilliant work of Spike Lee's latest, "When the Levees Broke: A Requiem in Four Acts," four hours of pictures, information, humanity, music, politics, a fierce and poignant story of how Hurricane Katrina slapped New Orleans and how the political management of the emergency razed to the ground.
impossible not to see this without fitting the eye to the brain, which is inevitable after a while 'watching you (and at that moment we are part of the documentary film) in the act of building something: build is very different from receiving a thought formed and packaged. The construction is an active and subjective act, involves the effort and the ability to bind the elements and cements.
The documentary and the audience grow together: watching the work is a form of co-creation, is a kind of ex post directed that, miraculously, continues to operate on already.
This is the alchemy that makes the documentary that in this case up above, yes "materializes" in the work of Spike Lee. The viewer is an active luxury, now, the cinema can no longer afford, concerned as is', to dispense with emotions, feelings, erections, sound principles, etc. etc. (especially etc. etc. etc.).
Look for the "citizen" which looks at the pictures is a must have also felt the likes of Herzog and Wim Wenders. Few have used the documentary as their reason for the 'time' and 'environment'
Lay the reality, a drop of water, leaning on a table, it expands and changes, it remains But this: scrutinize, wrap, surprise there, where the eye does not arrive, and so on until the time that passes does not catch the "truth"
Herzog films the time we have to understand, to perceive and then to touch.
Film and resumes that exists, but it makes us look at what we have understood. Some titles are
Fata Morgana, Bells from the Deep and Apocalypse in the desert.
Dziga Vertov, the huge Soviet Filmmakers thought that you were not really tell, you live and nothing else. The task of director is another and far more "ambitious" but certainly he had used the term "adventure". The reality is dismantled, slowly and quickly, happily and dramatically, and your eye catches the pieces and special moments. The eye invented a special language and grammar. For Vertov a movie starts when it ends: the last frame is the first of the memory of the process leading to memory, vital and necessary for social continuity, for cultural growth. The documentary film is anything but a gimmick to see is, indeed, a thinking machine not only for the viewer but also for those who make it.
In this regard, there 'a brilliant young Italian Swedish documentary, Erik Gandini that produces emotional shock, tears what someone opacity called 'sensory surround us.
With his major work, Surplus, to free his anarchic streak and describes the rampant crime and Western consumerism. The documentary throws up images: bulimic and is deliberately elusive, approaches so sarcastic and acrobatic moments, people and voices.
This explosion of images could also be combined and assembled in a reassuring and that is what makes the power.
The artist carefully established order, but I do not really sell his conviction, but informs me, through the visual representation of a new grammar of images and perceptions.
What remains engraved in my memory, is an element of collective memory, is the expansion of public space, is the negation of deprivation.
The movie industry knows these things, in fact, acting in the opposite direction, producing as mentioned before, the collective Alzheimer's.
In Italy, the documentary had noble ancestors as Ermanno Olmi and Michelangelo Antonioni.
Neorealism theoretical basis such that it had made almost a sort of extension and expansion of the documentary genre. Some of the best Italian directors have ventured into film, which had narrative structures, language and visual output, typically from the documentary: Gillo Pontecorvo (Battle of Algiers Ogro) Francesco Rosi (Salvatore Giuliano, the city's hands', Mattei's case), Elio Petri (author of the beautiful and unobtainable Todo way), Carlo Lizzani (I would say all his work).
Cinema understood as "shadowing of reality itself was something subversive and new that has produced memorable films and he made the film not only a witness of his time but a necessary element of civil growth of this country.
Today there are squalid and smart filmmakers, as Von Trier that ape that period, making a ridiculous caricature, voicing the belief that burps and farts, shooting with natural light, smearing the images, making them crooked, incomprehensible and unwatchable, you face representation of reality without mediation.
Stefano Benni would call these directors: apocalyptic integrated .... I would add, with room for apocalyptic essay.
Now in Italy, thanks to cultural associations, such as DOCUME 'di Torino, is growing a new generation of filmmakers. There 'will, to distribute the documentary more ethical society, to find new places and new audiences.
Manuela Pellarin Daniele Segre, among others, were known for the quality of their work (for me). The first, describing, among other things, the parable of Porto Marghera, with a flavor suggestive but anchored to the reality of living of workers and a strong emphasis on the weight and role of memory: Segre Instead, the prolific documentarian of Turin, for years he devoted himself to the "cinema of reality", according to the simple principle (optical and social) for which the point of view, longer, spanning more than scenes, and 'always on the last, for those who are at the bottom, for those who are at times out. (workers, immigrants, people on the margins, are the subjects of his films) Specimen his documentary of 1996: Law citizenship, history and stories of immigrants who follow and complement, the styling of Segre, too, in this work, the chorus remains. The dry style, free to all rhetoric, makes him not only present but rather, a work that always speaks to the future. The subjectivity foregrounded, in secret, and as a verb perpetually into the future: it is worth telling because there is' much more to do.
The Coral '(of the form and substance) and' in reality ', a bridge to the future:' like a sow. Let's just end
wing a couple of considerations more than any other man who has "duty paid" in popularizing the genre we're talking about: Michael Moore.
Leaving aside for now his undoubted artistic merit, popular and civil rights, the fact remains, perhaps beyond his own will, part of the star system.
E 'was also her choice to be "marked", and always by choice and his system, had supplied its place. He works for his audience, produces works fine, but for the most part, a thesis, vested in the premise and purpose. The subject is always and in any case him.
Michael Moore makes a film about health care and talking about Michael Moore and his ability to make a film about health care. The arguments go, he remains.
His physicality and his puzzled grin make the logo of the guru. With him
scheme remains vertical, the expectation of the messianic message, after all the "laziness of the emotional consumerism, fueled by the guru of the moment
Man is another thing that looks
LUIGI FINOTTO "KAMO"
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