torstaina, elokuuta 20, 2015

Elokuva - tuote, hype ja harha


Amerikkalainen brändi-elokuva
ja mieletön kaupallinen painostus-vyörytys on luonut kuluttaja-identiteetin, hype-hysterian "elokuvan muodosta" ja lineaarisesta kaava-"plot-rakenteesta".

Tämä kaupallisen suggestion, mainos/tuote-"logiikan" hysteria vaatii että katsojien on saatava sama kokemus samasta tuotteesta, elokuvasta.  
Harhaista, harhaista. Takaisin ranskalaisten, puolalaisten ja italialaisten vapaaseen oivallukseen ilmaisun ehdottomasta vapaudesta - subjektiivisena välineen subjekteille.

Olet täydellinen idiootti, jos yksi kreikkalainen kirja ja amerikkalaisten juutalaisten tuottajien tulkinta siitä on totuus elokuvasta. Aristoteleen kirjoituksissa 50% väitteistä on tieteellisesti täysin halpaa schaibaa, valheita, satuja, statismia, höpöä, pappiskulttia, pseudotiedettä.

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as He Talks About Low-Budget Filmmaking


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The winners of the 68th Locarno Film Festival: independent and surprising

* III   lisäys

  • Psykedeliaa. Nuoriso tarvitsee psykedeliaa ja eliitin satiiria ohjelmoivan anemian aikoina.

    Ken Russell’s controversial 1971 film incorporates sexually explicit hallucinatory sequences into this story based on the supposed demonic possessions in that took place in 17th Century Loudon, France.

    An order of Ursuline nuns begin to exhibit wild, uncontrolled behavior thought to be led by Urbain Grandier (Oliver Reed), a proud priest, who has recently gained political control of Loudon. Sister Jeanne des Anges (Vanessa Redgrave), the sexually repressed hunchback Mother Superior of the convent becomes infatuated with Grandier, and her striking sexual fantasies haunt her guilty conscious.

    Once word of Grandier’s secret marriage to another woman reaches Jeanne, she collapses into fits of hysteria and claims to have been possessed by the Devil through Grandier. Other nuns in the convent also claim to be possessed and the convent explodes into a frenzy of sexual outbursts and bizarre public exorcisms.

    Russell boldly depicts the effects of sexual oppression mixed with religious mania. The censored scenes of the “demonic possessions” include a psychedelic orgy of naked nuns “raping” a statue of Christ and Sister Jeanne masturbating with a human bone. The uncut version of The Devils is a mind blowing, audacious exploration of ecstasy (both religious and sexual).
    The Devil (Diabel) (1972) dir. Andrzej Żuławski

    the devil

    Żuławski takes his viewer to the roots of insanity through his passionate saga vividly illustrating the monstrosties of war. The sensational performances and dynamic camera work take the audience on an emotional rollercoaster through the depths of hell.

    Amid the Prussian Invasion of Poland in 1793, a Polish nobleman named Jakub is imprisoned in a destroyed monestary turned hospital/jail/insane asylum. A mysterious, diabolical stranger on a white horse saves Jakub and the two of them, as well as a silent nun, embark to visit Jakub’s family and friends, whose lives are now crumbling. Jakub is driven to madness by the horrors around him, and with the stranger’s fiendish coaxing, Jakub commits brutal acts of violence (mirroring the all encompassing violence that surrounds him).

    Originally banned in Poland upon release, Żuławski’s film delves into the shattered psyche of the inhabitants of war ravaged Poland. There are no understated emotions in Żuławski’s film; every character in the film goes through hysterical fits of rage, devastation, and/or lunacy. With the emotional extremes expressed by the characters, the disorienting camera work (that includes POV shots and handheld roving shots), and the wild, lo-fi musical score, The Devil presents its viewer with the chaotic sensory experience of a living nightmare.


  • No psychedelic film list would be complete without a Jodorowsky film.

    The Holy Mountain, a surreal masterpiece abundant with religious symbology and references to Christianity, Tarot, and Alchemy, takes the viewer on a mind-bending spiritual journey. Like Buñuel’s Un Chien Andalou, the film opens with a symbolic and ritualistic action.

    A cloacked figure takes two women dressed like Marilyn Monroe and sheds them of their societal regalia, removing their make-up, stripping them naked, and shaving their heads. Similar to Buñuel’s slicing of the eye, Jodorowsky is making a symbolic statement to the audience, to shed themselves of their societal standards and cultrually biased values. He then presents to the viewer a film that follows one man, known as the Thief (Horacio Salinas), and his mystical odyssey.

    A Christ-like figure, the Thief, is found laying in pile of mud and garbage by a little person without hands or feet. The two go into town, where the people are performing a kind of religious ceremony, carrying crucified dogs while simutaneously executing groups of people, to the entertainment of tourists.

    After the people of the town make a wax cast of his body for their mass-produced sculptures resembling Christ, the Thief journeys up a mysterious red tower and meets an Alchemist (Alejandro Jodorowsky), who leads the Thief on a path of enlightenment.

    Jodorowsky has a way of creating original religious iconography. His film uses entracing music, symbolic characters, and surreal visuals in order to dissociate the viewer from common religious beliefs and typical cultural values. Jodorowsky immerses the viewer in his own world, an amalgam of mystical philosophies.


           Espoo Cine 2015 alkaa kohta, vinkkejäni tulossa

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