I think a filmmaker / artist should always be himself, but he never forgets where he stands. Does not ignore the social and political reality, nor does a blind eye to injustice, abuse, and inequality in any level and in individual areas of life.
No matter what you say postmodernism (or rather, the posvanguardia) activism artists is almost inherent. In one way or another rebellion is an artistic requirement, the claims a reference standard and context (historical or not), an essential element in the creation, treatment with either a direct or indirect.
artists, most boast a mythical image of marginal visionaries of a better world by showing the worst of our miserable reality. At all times have been iconoclastic positions (the Most times parricide), challenging the political, academic and moral of his time confronting the reactionary pro-establishment, that patronage geriatric arbitrary and prejudiced about almost everything, and are an open invitation to dissent.
formal Every revolution was born from a position contrary to the provisions, which concerns not only technology, but the thinking, ethics / aesthetics, a way of being, doing and being. Those concerns to look 'differently', to undermine the rules and conventions is an attitude typical of the artist, regardless of its importance in history.
Without the need to be a political artist, the artist in politics, because it expresses and shares a vision of the world. More with the artists considered 'the future' prophetic those beings were ahead of his time with the feet on the ground and head in heaven or hell, depending on the case.
short, the filmmaker who makes art (do the filmmakers really?) Always seeks to do things differently as a result of having a disagreement and a way of thinking and seeing the world.
I can not imagine Apitchapong Weerasethakul, I understand the filmmaker / artist of the decade , in a subdued and suitably aligned attitude in a situation that merits the indignation. As evidence of this, a word of good Api:
"In Uncle Boonmee ... I wanted to do a tribute to the past, my past films. There is a recurring theme throughout the film is the theme of the reunion of the characters, of memory and low memory ... and all that, there is a political awareness of where it was filmed northwestern Thailand. There are two clearly distinguished, but there is talk of a film that has already passed. I hope my next movie is focused on explaining or developing a socio-political issue and go deeper into the currency of my country. " (Interview by Gloria Fernandez, November 2010.)
It should be noted that genius Thai name of art and true freedom, constantly challenging the dictatorship of his country, as an active member of the Free Thai Cinema Association. Besides, what better activity than the production of beautiful pictures Thai censorship can not hide, even hard-working regardless of their intentions cave.
Jean Luc Godard , a filmmaker reference for many generations, both for its continued violations formal as his political position, denouncing the abuses of his government in the Algerian war, the subordinate position of France to the war in Vietnam, as well leading the demonstrations in Paris May 68 that it had canceled the Cannes Film Festival that year, being also part of the movement for the creation of the Palestinian nation, the civil rights struggles of African ancestors, denouncing the war and massacres of all flags, as occurred in the nineties in the Balkans, that, without their period of political activism in the group Dziga Vertov.
And being as the living legend, has the luxury of arrochar the Cannes Festival in more than one occasion, despite the honors and invitations to all, as a matter of "principles ". Needless to say, rice tossed him an honorary Oscar.
A pearl: the great French-Swiss director donated money in September this year for the legal defense of James Clement, a Frenchman fined 20 000 euros for downloading 13, 788 MP3 audio files through BitTorrent. Godard at the time said: "It's not where you take things, is where you take them ... I am against Hadopi (coyright French law on the Internet), obviously. Intellectual property does not exist ... "  |
Lelouch, Godard, Truffaut, Malle and Roman Polanski in meeting adjourned at Cannes Festival join the protests of May 68.
|
Tomas Gutierrez Alea , the great command to roll Titón comrades ICAIC (Cuban Institute of Cinematographic Art and Industry) of the Stalinist dictatorship of Fidel Castro, among other things, policy interventions to the themes and film treatment and the censorship that resulted in the Institute. The commitment to art and consciousness is more than that may have the power or the powerful, whatever political banner.
Buñuel and his confrontations Open the Franco regime and the clergy complicit Visconti, Rosellini and other face of Italian neorealism Italian Fascism and German (despite starting his career under fascism, Rosellini was never loyal to driving, and kissed his hand. The Visconti for his film Ossessione 1942 is considered the first neo-realist film to denounce the excesses of fascism, the censored to remove half of the footage and ban until 1976 the international exhibition), Kieslowski and fighting the system Polish communist, Jan Svankmajer provocative almost incendiary Czech regime, Costa Gavras and commitment to social struggles of most people, the Dardenne brothers and his criticism of the inequalities in the Europe of the millennium, a path that also passes Bruno Dumont, Laurent Cantet , among many other great filmmakers in the world.
In Peru, does anyone dare to confront them all as he did Tsai Ming Liang with " The Wayward Cloud ?. History tells us that the Government Information Office (GIO, an acronym in English), Taiwanese government body responsible for determining the publications and make editorial changes to films before they hit the screens, tried to qualify the film as "obscene" and tried to cut it (well, for the controversy over the musical scene in which Chen Shiang-Chyi, Lu Yi-ching perform an erotic dance around and over the statue of Generalissimo Chiang Kai-shek in the middle square of the National Palace Museum in Taiwan), to which the Malaysian filmmaker complained and threatened not to project on the island if it was not intended the film as he conceived it, to what which, the GIO was discredited worldwide (because the movie had just been recognized in several festivals, including Berlin) and finally gave. Indeed, after of disputes, the authorities in Tai Pei awarded a special prize to promote Tsai good image of the city, although no samples Tsai favorable tourist sights, cultural and Taiwan.
I rescue a phrase of the writer and independent filmmaker Alberto Fuguet :
"... When the ideas are vague, we need clear images. I personally do not think any artist should have any responsibility beyond their own history, character, aesthetics and ethics. I do not think it necessary or mandatory to help a reasons or others, or take over current and urgent issues. But then again ... amazing to see so irresponsibly aesthetics. "
(On May 68, written in May 2008).
is a fact that within each film in the world are spoiled predilections toward that fall within the standards required by each industry.
is inevitable that constitute neo-courtiers around power shift, but a true artist does, is complicated, if not unacceptable. There can be compatibility of interests between those who only seek God's womb and be stark and dismembered (or should) in each work of art.
; ... ... ... ... ... ... ... ... ... ... ....
These months saw with shame to many of the figures of national cinematography supporting a bill that gives more money to the distributors and exhibitors that saturate our hollywodense scrap boards, and In addition, each can mistreat a few movies that are released in theaters.
Question: Any filmmaker / artist would hand truth of a character like Carlos Raffo defending a law that benefits multinationals billboards polluting the world?
not forget that Raffo, whose infamous phrase triggered this post, is defending the dictator, murderer, traitor, thief, corrupt and corrupter of Alberto Fujimori. Or does not that count when you have a position? If up to Mr. Lombardi will start the idea was disgusting.
And even after the scandal unleashed by a scandalous approval of a bill scandal in the legislature, there were those who spoke and who stepped back in his support for the legislation, or group that drive human, together with other little sheepishly claiming not to lose the 'way', always 'respect to colleagues' or better to pass the matter by warm water, however, things were clear:
- It lied to the public stating that this law was agreed by the film community to benefit from it.
- It lied to the film community with pride when they said they were going to get more funding for domestic production, as the law eliminated the state's contribution to Conacine (holding the good will of the majors), apart from contributing to the filmmakers.
- It lied in the first instance by mentioning a benefit to the regional cinema of 20%, when in fact it was 3%.
- It lied and lied to mention that passing this law is the only alternative to obtain more funds for the cinema, then, if as we hope this bill is viewed by the executive, returns Congress, where it can get to develop a project that contains a real boost to the film. Enough of resignations by the tale of the 'lesser evil'.
Now, is innocent, naive or covert complicity? You can not openly support him do not know well, not anticipating consequences, and if you do, not just appealing to the 'good intentions', a term that is ridiculed by so much (ir) responsibility.
But, being understanding, say it is time for Peruvian film makers really do what they initially had to do, fight for the few state funds for the national film promotion increase, are decentralized and are channeled to the development of the country's film industry (Which does not mean strictly grow multiplex cinema in the country) without the decency to engage the artistic attitude and the personal challenge of being self-demanding, self-critical, and be aware that grants are initial support for any artistic career truth.
is gratifying to know that there are real artists who have cinched the real fight for the true development of national cinema. Good to know that they can look ahead without being accused of anything in this mess, that clean hands and collective interests prevail over the poses, the glories of paper and pocket happy with an empty soul.
For those who do, it is never too late, especially if you're an artist, a real one.
