Reasoning in this way is to have more horizons to explore, in front of you do not have a single, unique and closed on reality, but a network of solutions to slip into at will. This means continuing to live in the grip of mental trip or simply coincides with creativity. The eyes are crossed, the brain goes to mush. You have to have very firm not to be devoured by what, around us (in us) seems more imminent than ever.
So. So what remains is to transform the uncontrolled orgasm in fictional multiverse way to go. On the street by c rear.
When you have things in hand, everything and walking become more goggled p iacevolmente goggled. Turns uncontrolled in his mind with the assurance that the output, somewhere, at any time and way, we can crearcela us.
INLAND EMPIRE is a film of nearly three hours. It is impossible or broken. We must water the brain and eyes slowly for three hours, binge. But INLAND EMPIRE is a film? Or is it something else? Someone will say, incomprehensible. Forced. Too long. Useless.
Yet in front of a Lynch film is not can not stay and do not think you can always yell ò to useless, the forcing, the inability to communicate something.
We all look at film, different genres, disparate stories, but watching movies. Hobby, study, cinephiles. Any reason is good to watch a movie.
We all have a mind. The unconscious mind is controllable. Frighteningly uncontrollable.
For this, we have all the subtle fear that the mind can create something autonomous, living independently of us en utrendosi of our reflection.
aside for a moment to put the Italian side of titolino INLAND EMPIRE, "The empire of the mind." Saying "The empire of the mind" on INLAND EMPIRE is quite simplistic and does not resolve the issue. If anything, we might venture with "Empire of the cinema", but I think INLAND EMPIRE - "A woman in trouble" (the same as Lynch points out) is more than enough.
Inland: Inland. Empire: Empire. In this film you can not gloss over the names, on the puns, the translations, the texts music. Every word leads to another, each space or leads to another, although far away and (apparently) no real continuity. A door that opens to a world leading, cross it, until there is a window that opens, leading to a world, cross it and then again, there is a door ...
... and you are trapped.
And although the movie is confusing and meaningless, is behind Order a scary and crazy.
We can divide the film into three parts over the end credits (which have a key role). You can even say that it is, in nearly three hours of film, three macrosequenze. Very long and fragmented, but still logically three sequences.
First we deduce a plot (f bears Lynch would not be happy to know ch and someone tells the story of his film ...): there is an actress, Nikki Grace, who is engaged for a movie. The movie wears a curse: it seems that the actors who interpret something could happen very ugly. On the set of the film, Nikki (who is married to a jealous man Polish) meets Devon, a talent like bell'attore notes Torie (Justin Theroux, who played the director in Mullholland Drive) and, apparently, among the two become something. Something I try to keep illegal and (maybe, but it is not known with certainty) is discovered by her husband. In short, Inland Empire is about a betrayal. But there is a problem. One day on the set, our actress - who has already impressed by the person who must act and legends that revolve around you - is lost in the theater pose. Enter one of the houses in the theater and it remains trapped. From this point on, the house of the set becomes a true home and our will to live actress and a life, indeed, more lives, which revolve all rno act a betrayal, an old Polish history, the film.
If you need to track the carrier INLA nd Empire, it should be found in the superposition. All overlaps with everything. Spaces, characters, doors with windows, the ages, the jokes. The fiction overlaps with the reality and the swallows. The digests and the answer out. But it is no longer the reality that we could claim to know the beginning.
The first part consists - a prologue explaining the whole film - is already a waltz of overlap. The film begins in black and white, c ' is a corridor and two people, a man and a woman. Of them can see everything except the face, which is blurred, seems to have been erased by a rubber blow: those two can be anyone. The two characters speak in Polish and one of them is a strange exchange: strange because redundant, but that at the same time to understand the situation well. "You know what whores do?" "Fucking. I want to fuck? " "Take off your clothes." She strips and adds a little later, in what appears to embrace an out of focus: "I'm afraid."
Something tells us that everything should remain illegal. A moment later the joke "I'm afraid," the picture is done in color. In a room decorated in a way very similar to the previous one (the one in which they are man and woman) is a girl naked, covered only by a blanket, watching TV and crying. The television, however, is no signal. At times the images seem very fast (the film images that will be).
The TV tunes soon on a strange play. Lynch enters the television and shows us, with one fix, always the same, the play in which they are acting in rabbits. The set is sparse, it is a room of a faded blue, there is an ironing board, sofa and TV (the room, leather, reminiscent of Diane in the kitchen of Mullholland Drive). A bunny in a dressing gown stretches, while the other is sitting on the couch. Enter the door a male rabbit in a suit and tie, and the audience applauds as if it were on the scene, the undoubted star of the company. The three rabbits provide each other jokes and rambling the public acts accordingly. Between what he says and what a rabbit another says that there is absolutely no logical sense. And the audience burst into loud laughter as worrying for no reason. "Today he did not call anybody," says the rabbit, and the audience down to laugh. The rabbit comes out of the door through which he had entered.
A new room. Decorated in a very similar way to the hotel room where the two had met to make love and where she watched TV. In this room enter the rabbit. The room is lit, the rabbit disappears. Show two men who, in Polish, have a strange dialogue: "Would you come?" - "Yes" - "Seeking an entry. One entry, you know? " - "Yes, I understand." - "Well. It is fortunate that she understands. " And so on.
men disappear. Back in the rabbit.
Dark room. End of first part consists.
This "small" that Lynch gives us a glimpse of his film. In ten minutes the viewer's brain starts to move and already threatens to go to mush if it were then the director attacks the beginning of a "real movie". Already here, are brought to light all the issues that come into play during the three hours. First, the consequential between spaces that, logically, should not be continuous. The assembly and staging allow us to combine logical and spatial locations that would otherwise be incompatible. From the TV screen goes to the theater with the rabbits and the rabbits will go to a lounge where two men discuss the fact that they are seeking input. Lynch does not hide his game at all: the cinema can take us where he wants. To get from one place to another do not have to walk through wide spaces actually exist, but simply put them together through the mind - that is, through a process of association of ideas that is paid by the assembly. The mind, if left unbridled, can really go where it wants. As the cinema.
Rabbits are the key to prime the whole movie. The three scary clothes and humanized animals appear something other than us. Yet they are there for an audience. Literally trapped for the public, freak trapped, imprisoned. Bunnies can not do anything but act. And maybe read too bad, but they ... stage they are animals and can only do what they do, pray always, forever. And when you end up starting over. Bunnies will return with continuity throughout the film and help to make the puzzle whole (but also brilliant, in some ways) of Lynch.
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| Daphne Guinness |
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Ποιέω ( poieo , which also poiesis, "poetry") making, manufacturing, building, work , fashion, dealing with art, compose, write, represent, present, poetically paint.
Symbol (by σύμβολον , "a sign of recognition" and συμβάλλω , "put together, unite, compare, interpret"): element Specifically, object, animal or person who is credited with possibility of a recall or mean value further, wider and more abstract than it normally is - DISC, Italian Dictionary Sabatini Coletti.
any artistic speak, that has always been a symbol of the "techniques" used the most. Through the creation of a symbol you can get to talk about something without tripping over too broad descriptions, in rounds of abstruse words or "because" that takes away the pleasure of artistic enjoyment.
The symbol can be a double edged sword: int eressante and intelligent if not obvious, is poised on the invalidity of the message. It can easily lapse into something already v isto, can become a symbol of hard, empty form. We are used to assign a default symbol to a certain object, and when equality between the object and its meaning all too simplistically and free returns on books, movies and comic books, you risk losing all the potential of a similar device.
hours I will not elaborate in describing the aspects and implications of the symbol in art history, religion, philosophy and communication volumes and volumes would not suffice to exhaust the subject (also My limited knowledge does not allow me to venture into such a journey). What interests me is how, in the limited field of writing (and film), the technique that you choose to use is never an end in itself, but always a necessary means of reaching the sens o: the work is done and it works (the that set apart the etymology of "poetry"), it works just like a sword or a cloth is woven.
The symbol is not only a single object, a definite shape, a definite form. Sometimes the symbol is constructed in a rather broad: it can be a framework, a sequence, a sentence, a character, even a whole movie. For example, the zombie has often been used to symbolize the human condition subject society, devoid of thought and action and their dependents.
The task of the symbol (and other poetic techniques policies), in fact, conceal the mystery behind an accurate representation of which shape the aesthetic and complex work of art. If you do not act so, in fact, if the "mystery" and was not told or described poetically constructed, there would and more art, but a scientific treatise.
comes to my mind an image of Old Boy.
enigmatic, complex and emotionally charged at the same time, this shot is very explanatory and for the character, both for the entire film. Symbol of narcissism, unconditional love for themselves, want to be seen and be sentenced to not do so. Park Chan-wook sums up the whole movie in a few seconds of a short and intense sequence. It does not explain the complex tangle of history and does not describe, but narrates and constructs. This is what makes a work of art.
Exactly its important role, the symbol is used at every level of production, often to expedite the situation and with very little to say important things. Propose now a video from a television series, whose symbol sequence covers a period of four minutes. In this scene, discusses complex feelings and situations and impossible to tell with the words, a paraplegic boy wants to walk again and wants to do this as crowds there. He decides to go to Mexico and spend all the money in a transaction that has not allowed the United States, which provides for the planting of stem cells in the shark's spine. The guy knows how to run great risks, but his only goal is to walk again and be as before. However, his friends - in the grip of bigoted fury mystic and friend outspoken - they know that will not be so and that the operation will have disastrous consequences. The sequence (a real watershed for this story line) to address some important issues, such as the Renaissance, the skin change, accept it as it is, look at the world with new eyes.
How can we say this in a short time? Do not forget that the television series have a standard of about forty minutes per episode, and that in each episode are often followed the stories of many characters.
In the proposed sequence, the water is symbolic, the symbolic dive to Jason, his return to the surface hard and earn the shore - a new shore. The moment "different" is underlined by the change of music. You go from a music cruise (it is the "cruise drunk" to which the three friends are participating), a sudden silence during the serious talk that the three are at the entrance to the underground To Build A Home of Cinematic Orchestra. The second piece of music by a rhythm completely different to the scene and also has the task to come out next from reality and enter the space of reflection, opinion and emotion. The music of the Cinematic Orchestra is on the rise. And every action is perfectly highlighted by the Jason Music: music and character share the same rhythm. So, when Jason tries to rise, the purchasing power of music and the meaning of the scene, which closes gently with the blend of sound, leading to a very specific meaning and silently understood.
With the sheer force of arms, the boy is dragged on the sand and starts to laugh, it is here that concludes the most "symbolic" the whole sequence: immediately after you come back to reality next, the music will change again and Jason announce his decision to friends.
The sequence has a very classical system: in addition to directing dirty, which builds large fields in the space alternating close-up with a shaky camera, the dialogues and the composition modeled on the micro-writing the rules of classical American cinema. Including one thing: the classic movie in the first sequence offer all the main elements of the story, more or less explicit references to what will happen later. Even in the sequence proposed here, without the public being aware of the first vision, it is expressly anticipated that an element will be realized after a few episodes. Jason, provocatively and without any conviction, screams could do three things: to become immersed in the water head by some fanatic, to be healed by a shaman, or go with the first woman he meets on the street.
is one of three things will happen. This is a further confirmation of the strong symbolic value in this sequence: after the water and the re-emergence, the life of Jason actually going to change, not only for his will, but also for how the case will give new possibilities.
