Im freakalot

Im freakalot

Im freakalot

ORIGINAL TITLE: The artist DIRECTION: Michael Hazanavicius SCREENWRITER: Michael Hazanavicius CAST: Jean Dujardin, Bérénice Bejo, James Cromwell, John Goodman. GENRE: Comedy, Drama. YEAR: 2011 COUNTRY: France DURATION: 100 minutes.

Hollywood, 1927. George Valentin is a great silent movie star to whom life smiles at him. But with the arrival of sound cinema, his career is in danger of being buried in oblivion. For her part, the young actress Peppy Miller, who started as an extra with Valentin, becomes a sound movie star. (FILMAFFINITY)

"The images in the cinema, as in the dream, appear and disappear through dissolvencias and obscurations; time and space become flexible, shrink and lengthen at will; the chronological order and the relative values ​​of duration do not respond to reality anymore ... "

Cinema is a continuous continuity of time. We have often said that it is a significant element of the space in which it is conceived (from each particular work to the generality of themes, gender cinema, cultured and intellectual cinema, commercial cinema, inhospitable cinema). It is, then, a reinterpretation of reality by reality itself (or the fickle cut of that reality). But it is also an illusion of those who try to dream and capture through the lens. Because everything that stands between the eyes and the environment portrayed is light; beams of light that project chimeras, lies, false shadows on a combination of fabric and speakers (or non-speakers, or putting on double-colored glasses, or listening to headphones, cinema increasingly enclosed in flat screens and tiny devices). Follow the teacher Buñuel:

To snatch, to take of judgment, to present / display a universe that copies to the known one to transfigure it, exerting conscience on the projected space, abstracting it of its (like Bunuel) says habitat psychic. There is the spectator sharing illusions with others, in a restricted space, silenced. There he is experiencing a unique possibility of knowing another reality that is preconceptually alien to him, but thanks to the tricks of the cinematographic language itself assimilates entirely and is allowed to influence, to slip, to pass through that concept. Piaget calls preconception the stage of development in which the child links the notions to the first acquired verbal signs.

"The characteristic of such schemes is to stop halfway, between the generality of the concept and the individuality of the elements that compose it, without reaching either one or the other"

Cinema, in addition to making it possible for them to escape and to keep their pupils about the time it takes to light up their impalpable puppeteer, is the promoter of learning, re-education of sight, sense and character intrinsic of the human being: food of the fantasy, the desire and the disturbances. Because even though we have already seen everything. Known every form of expression in the world, every embryo of creativity. Even so, we continue to attend the room to let us lie. To shake and interrupt our vivid dream with false stories. I leave it to you, surreal master:

How to pay homage to the cinema but transmuting its condition as a con artist, Parnassus, a seller of illusions? The Artist is a tribute to the cinema, and not simply because its story is full of cinephile evocations, because it is told from the heart of the industry and because, in addition, its main thread is the evolutionary-technological transition of this art. The Artist is also a tribute to the spirit of this cinema aimed at providing answers from those who, exposed to the two hours of projection, let themselves be traversed by their hypnogogical capacity. There intercede the technology.

Each technological transition involves a paradigm shift in the forms of realization. Historically and because of consumer demands, visual enhancement enhances the filmmaker's ability to develop his work. This does not mean that, thanks to technological advances, it increases its capacity or its aesthetic sensitivity diametrically. This case is seldom given. Precisely, technological possibilities offer an untapped universe that is detrimental to the spirit of cinema; inhibits their language.

Slowly, we are witnessing the death of the cinema. But that expiration is slow, assimilable, and as I observed in another review (if I remember correctly, in The Tree of Life) progresses dialectically. The overcoming of a thing through denial. An element (A) constituted and assimilated as such is denied by element B as it is a progress determined by the constriction of the presentation of element A.

Vanguard cinema perished before the commercial onslaught of Hollywood . The silent film had to yield before the imminent irruption of the sound. Technology fuels change but also crumbles the essence of cinema, erodes its initial physiognomy.

The history of sound

Silent-sound transition is the first thrust to the cinema: the initiatic transition from artistic space to the commercial sphere, to the object of consumption.

For all this, not only The Artist is good for its technical, narrative and aesthetic content (we will leave this analysis later, although for that matter, it is already subject to analysis from the going), but to establish a metalanguage with the film itself to which he honors. Cinema is the wonderful world of illusions, the creator of dreams and that is why it is the one that has made us false promises.


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