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RUDE Magazine - Winter Issue

english version issue9W

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

LAMOUR N DECADENCE by Carlos González New York underground, this movie stood as a landmark in style, and was a very big influence future. The music of jazz bassist Charles Mingus, with a touch of fashion style section at the time, is a brutal reinforcement to highlight the essence of “Shadows”. Federico Fellini, King of mockery and sarcasm, is also owner of the kitsch and the destruction of the pretentious. His film “Satyricon” based on the novel of Petronius, shows the recoil of the worldliness of the Roman era, while reflecting the absurdity of our behavior today. The narrative appears unstructured, chaotic and rhythmic intensity changes that tend to surprise. The moral ideas presented ridicule narrative action and, consequently, disassemble the action. The history starts very similarly to the novel, but with a fantasy. Two boys become involved in stories that trigger each other, linking events with dialogues demoralizing and ruining any ideological approach. The fact that the assembly of the planes is as messy as a metaphor to explain the breakdown of society, where the human being is seduced by his lack of culture and idealizes stupidities with which believes getting her own pleasure. The influence of “Fando and Lis” by Alejandro Jodorowsky, is remarkable. Looks like Fellini saw this film in Rome, in 1969, before the production of “Satyricon”. It’s a cult film that everyone should see, especially if someone really wants to think. In the 90s, the American cinema revolution came with Quentin Tarantino, the paraphrase genius and master molds adapt aesthetic past to the present day. Just as Fellini did with “Satyricon”, created Tarantino film epics, but modern. Such is the case of “Pulp Fiction”. With a bright and segmented own script (I think that one of the best ever written), has amoral passion about protagonists full of uncertainty, which become involved in the most bizarre situations. The key to this great awesome movie is the result of an homage to pop-art culture that generated characters like gangsters anachronistic, ie lifelong gangsters but today. Using eclectic elements is voracious and allows Tarantino to give a distinctive taste to the construction of each of the protagonists. In fact, he once stated: “I have stolen from every movie I’ve seen and done.” The poignancy of the story is reflected in the vision obscene and disorderly shown in action. And of course, the music of the 60s and 70s, gives a retro feel to Chuck Berry with “You Never Can Tell”. Do not you agree that, at times, beauty is in the chaotic, dirty and old fashioned? Sometimes comes well injection of these elements to support your feet well on the ground and able to think a little more clearly.

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