Društvo spektakla
film na Praksa film festivalu
Society of Spectacle
movie at Praksa film festival
21.07.2013.
Dok se ulicama Pule uprizoruje pokušaj holivudizacije male, loše i siromašne hrvatske kinematografije Praksa film festival nudi portošačima filmskog medija drugačiji tip užitka – dugometražni film Društvo spektakla situacionističkog pisca, filozofa i umjetnika Guy Deborda iz 1973. godine. „Spektakl je kapital akumuliran do te mjere da postaje slika“ (teza 34 prvog poglavlja).
While we are witnessing an attempt to holliwoodize a small, lousy and poor Croatian cinematography at the streets of Pula, Praksa Film Festival is offering to the film consumers different type of pleasure – movie Society of Spectacle made in 1973 by situationst writer, philosopher and artist Guy Debord. „The spectacle is capital accumulated to the point that it becomes images.“ (thesis 34, chapter 1).
Autor: Guy Debord
Jezik: Francuski sa engleskim prevodom
Trajanje: 88 minuta
Author: Guy Debord
Language: French with english subtitles
Duration: 88 minutes
Citat iz izvorne najave filma:
Opće mišljenje koje je vladalo do danas je da je film potpuno neprikladan medij za prezentiranje revolucionarne teorije. Taj pogled je pogrešan. Nedostatak ikakvog ozbiljnog pokušaja u tom smjeru proizlazi u biti iz povijesnog nedostatka moderne revolucionarne teorije tijekom gotovo cijelog razdoblja razvoja filmskog medija; kao i iz činjenice da je potencijal filmske kompozicije jedva da je uopće oslobođen, unatoč silnim deklaracijama i namjerama filmaša i hrpi odglumljenog zadovoljstva od strane jadne publike.
Samo kino je sastavni dio ovoga svijeta i služi kao jedan od instrumenata razdvajanja reprezentacije koja se suprostavlja i dominira nad stvarnim proletiziranim društvom. Kada se revolucionarna kritika upušta u borbi na terenu filmskog spektakla, ona mora uperiti jezik tog medija protiv njega samog i na taj način si zadati formu koja je sama po sebi revolucionarna.
Quote form the original announcement of the movie:
Until now it has generally been assumed that film is a completely unsuitable medium for presenting revolutionary theory. This view was mistaken. The lack of any serious attempts in this direction stemmed simply from the historical lack of a modern revolutionary theory during virtually the entire period of the cinema’s development; as well as from the fact that the potentials of cinematic composition, despite so many declarations of intent on the part of filmmakers and so much feigned satisfaction on the part of a miserable public, have as yet scarcely been liberated.
The cinema is itself an integral part of this world, serving as one of the instruments of the separate representation that opposes and dominates the actual proletarianized society. As revolutionary critique engages in battle on the very terrain of the cinematic spectacle, it must thus turn the language of that medium against itself and give itself a form that is itself revolutionary.
