Matheus Siqueira

Diary - The new flesh of Robocop

Robocop

José Padilha 2014

Time of watching 05:14

As a brazilian my initial interest on the movie was because José Padilha, a director that achieved great success in Brazil with his Tropa de Elite films directed this as his hollywood debut.

From what I read the critics on the film was that in mainly focused on the story of Alex Murphy and very little on camera action scenes. What called my attention is the whole idea of the new flesh inserted in comparison with the previous Robocop film.

robocop2

What is the new flesh? The human body beyond it's original form, the body as a canvas for improvment. I copied this description from the book La Nueva Carne - Una estética perverso del cuerpo editied by Antonio José Navarro and published in 2002 by Valdemar that throughout its chapters analyzes the New Flesh from Cronenberg to body art, tatoos, piercings, etc.

¿Qué es la Nueva Carne? Ni el más aguerrido analista cultural sería capaz de proponer una definición válida capaz de englobar las distintas manifestaciones creativas -y filosóficas- que en los últimos veinte años han transformado el cuerpo humano en un nuevo ente monstruoso, el cual, de forma extremadamente gráfica, mediante pústulas y supuraciones infecciosas, tumores y malformaciones provocadas, cirugía extrema y manipulaciones genéticas, sexo violento y carne apaleada, injertos tecnológicos e invasiones víricas, expresa terrores que desde siempre anidan en el alma humana. Miedos viejos bajo envoltorios nuevos.

¿Y cuáles son esos miedos? «El temor al cuerpo mutilado, a la transgresión de las fronteras corporales (interior-exterior). Vivimos en una situación en la que la integridad física y psíquica del ser humano está continuamente en entredicho. A los monstruos que nacen se unen, entonces, los que la sociedad fabrica (guerra, accidentes, crueldad, psicosis...). La unidad del ser humano se rompe y se instituye el desorden, el caos y lo impuro. Lo monstruoso es entonces lo intolerable, aquello que hace nacer en nosotros el horror, la angustia». A lo que cabe añadir la disgregación del cuerpo como supresión de todos los vínculos con la realidad, alejándolo de la arquetípica metamorfosis que lo transforma en otra cosa —cf. las diferentes expresiones de la zoantropía—, dando lugar a lo informe, que «niega que cada cosa tenga su propia forma, imaginar que el sentido se ha vuelto sin forma (...) Los límites de los términos no son trascendidos, simplemente transgredidos o rotos, produciendo lo Informe por la delicuescencia, la putrefacción o el pudrimiento».

Superada la mórbida fascinación victoriana por la carne deforme y tumefacta de los freaks que, de feria en feria, se exhibían ante los ojos de un público aún marcado por el puritanismo religioso — los freaks eran «el fruto del pecado original», tal y como puede verse en un efectista pasquín publicitario durante una secuencia de El hombre elefante (The Elephant Man, 1980), de David Lynch—, la Nueva Carne es una monstruosidad que reniega del folclore y de la mitología, de la moralidad y de la lógica. La Nueva Carne, ya sea a través de las pinturas de H.R. Giger, las fotografías de Joel-Peter Witkin o las viñetas de Charles Burns, acomodándose en los films de David Cronenberg o en los cuentos de Clive Barker, hace que el infierno sea algo físico, no imaginado. Así pues, uno de los principales méritos de la Nueva Carne consiste en su habilidad para crear monstruosidades creíbles y tangibles. Sus monstruos son posibles, tienen las proporciones adecuadas. Ninguna sensibilidad artística anterior se ha arriesgado tanto en el camino de la realidad grotesca. Todas esas contorsiones, caras bestiales y muecas diabólicas son profundamente humanas. En una palabra, es difícil precisar el punto en que la realidad y la fantasía se confunden.

(...)Sin embargo, la gran paradoja de la Nueva Carne es que numerosos eruditos afines a lo fantástico, a lo bizarre, saben lo que es, pero no pueden acotar su esencia en un discurso hermenêutico más o menos consensuado entre las diferentes corrientes artísticas de vanguardia.


Diary: Why Don't You Play in Hell?

Why Don't You Play in Hell?

Shion Sono - 2013

Why-Dont-You-Play-in-Hell-MOMENTO-DE-REFLEXIOL-N-SOBRE-REALISMO-Y-FANTASIL-A

Just watched this last night and I falled in love with this movie! From the director of one of my favorite movies (Love Exposure) comes this marvelous and humorous depiction of love to cinema.

Altough you won't cry of emotion like La Nuit Américaine this scene for sure is going to make the filmmaker inside you want to grab a camera and run shooting!


Diary - Frances Ha

Another very late movie night, or early morning during work depending from the point of view. Recently discovered the website yify.tv to stream the movies and found Frances Ha to watch.

DISCLAIMER: As with the series Girls my viewing of the movie sufferes from prejudice.

Frances_Ha_film_still_3-1

Recently I read a very interesting blog post about why our generation is unhappy and I think this film relates perfectly to this. Having many friends who live off their parents income while striving for someone to discover their artistic genius I find interesting this portrait from Noah Baumbach.

What bothered me the most is also what intrigued me the most– the rhytm and self irony. After talking to a couple of friends that heavily criticized the movie a tought of tracing relations between Frances Ha and the movie below :)

woody_allen_annie_hall-1

Although not further developing the idea in this diary entry I lay here a little seed of discussion about what differentiates the creative ambiance and means of Frances Ha, to Noah Baumbach, to Woody Allen? Going even further renaiscance artists that dependend on mecenas? Just tought this would give an interesting research on analyzing the production means entitled From Mecenas to Parents.


Step Across the Border (1990)

Found this while searching for Vincent Moon and found this preciousness that relates to Moon's work as an influence on how to bring aura back to music.

Step Across the Border (1990)

Nicolas Humbert and Werner Penzel


Diary - 47 Ronin

Also watched during my night shifts as a receptionist this movie is surely the worst I have seen in the last years and 50% of the reason is the bad dubbing over the chinese characters that probably didn't speak good english. I'm trying to find at least something good to say about it but I can't. There is absolutely nothing worth in viewing it, not even if you are a fan of kung fu flicks it is worth it.


Diary - A Hangover from Bromances

After being awake during 48 hours working and still having to come to my night shift I was looking for something really simple to keep me awake.

Searching through some online film stream sites I found the latest Hangover movie to watch and decided to catch up the series after being obligated to watch the 1st movie with my friends.

After watching Hangover II and Hangover III I can't stop thinking about what I been studying at Nuria's Bou classes on the Imaginary of Classical cinema and how in contemporary cinema to show the same emotions it becomes necessary to elaborate complicated schemes.

These bromances are an updated version of the men club movies from the golden age (think westerns or filmes like "Only Angels Have Wings"). The difference is that now it can't be innocent, for a couple of friends to bond it becomes necessary a very intricate and manly reason that relates them to each other.


Dammi i Colori - Seeds for a discussion about color, urban landscape and dictatorship

Tower color
Comparison of Let's Colour (right) with Dammi i Colori (left)

Dammi i Colori

Anri Sala

The collective appropriation of the urban landscape through the overuse of color not as a detail, but as the organs of a body. Chaos amidst a political view and the real influence of colors in common day life.

Let's Colour

Dulux Commercial

The private funding coloring of collective life as a benefit for social environment.


The 5th Wall

One of the remarkable notes that I took on a recent class was from the movie Shirin, from Kiarostami.

The idea of the film is that we as spectators understand the film through the eyes of the viewers of the movie theater. Our whole perception of film is filtered by the reflection of the film upon another viewer as ourselve.

Shirin

Kiarostami

Recently I found something that remembered me of this although it shows clearly the ironism and misses the whole magicality that we find in Kiarostami.

Chloroform

Phoenix


The Unbearable Lightness of Seeing

Searching for references on experimental cinema for my MA thesis I found this precious short film, although it is quite famous in film studies I still didn't see it. Anyways, I was blown away by how the camera works to show the presence of lightness in this movie.


Action-Image vs Energy-Image

Notes from one of my classes on Critic History of Cinema with Fran Benavente.

First the definition of Energy-Image: A image that furthermore than explaining and defining the story it prioritizes the sensation. An example of image action is the cinema of Philippe Grandieux.

Un Lac

Philippe Grandieux

In Grandieux we can see clearly what is an energy-image, the concept of an image that purely transmits the primitive forces that drive the human being.

From this concept we go with Thoret and his book Le cinema américain des amnées 70. París: Cahiers du Cinéma, 2006

Thoret proposes that the base of American Cinema is not the image-action but the one of image-energy, and that action and violence is only one of the ways that american cinema found to express this energy.

The theory gets more interesting when he starts analyzing that in the New Hollywood Cinema of the 70's we can start analyzing a reflex of a society that reach a point where there was no more "acceptable" ways of expressing violence and when confroted with this impossibility what we see is that violence shows itself as a social patalogy.

After having conquered the west, fought the WW2 and not having an outlet anymore violence turns from being an act against others to be a patology against itself.

Some examples of films that we can observer this.

The Wild Bunch

Sam Peckinpah

The Big Shave

Martin Scorcese

In one of his first shorts we can analyze the seeds of repressed violence that continue througaout Scorcese career.

The Shooting

Monte Hellman

The desconruction of western genre and super sensorial ending of this Hellman classic movie.

Starts at 1:15:00

Gimme Shelter

Albert and David Maysles

What happens with this repressed energy after the counter culture has been emptied.