RUDE Magazine - Winter Issue

english version issue9W I N T E R 2 0 1 2 · L E S O R T D ‘ H I V E R
Pages 88 - 91
Jim Jarmusch, currently one of the great directors of American
indie cinema, shot a short in 1993: “Coffee and Cigarettes”. To
the surprise of many people won the Palme d’Or at Cannes.
A decade later shot several shorts of the same kind. The
theme was unusual, people drinking coffee and smoking
cigarettes in a nasty, dirty and decrepit bar. The conversations
of the characters that are in the cafeteria are hilarious and
nonsensical. We are left in no man’s land on what is known as
the typical story. Through static shots, dry cuts, use of black
and white obtuse tell us ... a no story.
Well ... really no story, no plot. The characters appear in different
sketches talking about what would be anti-arguments: a waiter
constantly interrupting his client without more, an impending
dental appointment one forces him to take quick coffee, make
anEnglish tea , a nonexistent rock band, conspiracy theories
against Elvis Presley or the use of nicotine as an insecticide.
Jim Jarmusch grouped all the episodes in the form of a
film (???). Yep, the dramatic and comedic characterizations
is a reflection of social behavior patterns. And the fact that
everything is so decadent stresses the author’s message.
Cinema = emotion. Emotion = shape. Shape = Aesthetics.
Aesthetics = social transformation.
I think this simple axioms sequence opens a dilemma between
the art form and the business. It is well known the immense
social power of cinema. Mass culture has been the largest
door sound consumption of images for over many decades.
And, therefore, patterns and icons of design aesthetics, image,
music and fashion are in the audiovisual medium. This has
been a source of business since the beginning of the medium.
The truth is that we have all seen in the cinema hundreds of
films of poor quality, with hackneyed stereotypes in the script.
Again the same story! On top of the quality of the players is
contemptible and the audio and visual clichés condemn us
to boredom. Is the filmmakers call the Serie B, a term first
used in Hollywood (back in the 30s) to productions destined
consumer entertainment, at a cost considerably low and
seedy and decadent aesthetics.
Many independent filmmakers have adapted these archetypes
of “bad movie” to independent productions. It is very curious:
have successfully changed the forms of expression to
enhance the expression itself. But it is not contradictory, often
employing traditional narrative forms awakens new interest in
them, especially if adapted to present day. I would say it is like
a “glamor-kitsch-vintage” or “retro-amorphic-current”
John Cassavetes, another major independent film, debuted
with “Shadows” (1959), a brilliant film where there was no
written script. Cassavetes was a pioneer of directing actors
with his method of improvisation, allowing him to carry out the
development of the characters from the scene at the same
time. The chaotic environment, wild and powerful touch with
G
O