....UN VISTAZO A UN ASPECTO DEL PARADIGMA "CINE EN VIDEO" y produccion cinematografica
La democratizacion de la tecnología, al estar al alcance de la poblacion que pueda pagarla, ha estado iniciando personas como el fotografo de escritorio, el cineasta de garage.. etc. Cuando mencionamos que por esta causa no hay excusas para no ponerse a realizar una pelicula, una serie fotografica, entre otras artes de lo que conocemos como media arts, estamos cayendo en una aseveracion implicita como esta:
‘Tú debes porque puedes’.Slavoj Zizek lo define asi:
Este es el significado del Viagra, que promete restaurar la
capacidad de erección viril, de un modo biomecánico, dejando de lado todos los problemas psicológicos. Ahora que Viagra se hace cargo de la erección no hay excusa: debes tener sexo cada vez que puedas y si no lo haces deberías sentirte
culpable. " Este ejemplo puede adaptarse facilmente al escenario de las artes digitales hoy dia, pero, no quiere decir que este encontra de esto, pues yo utilizo todo esto y me considero hasta cierto punto un artista, PERO, el dilema esta en que no hagas las cosas porque puedes hacerlas y que por lo tanto debas...
hay que tener una conviccion y un impulso por explorar el medio, las oportunidades que te da todo esto y los principios cinematograficos, los generos, etc... entonces, si esta naciendo el nuevo cine de manera digital, pero hay que trabajar para que desarrolle su propio lexico no hay que caer en:
"el ascenso de lo que se podría llamar el ‘racismo posmoderno,’ cuya característica sorprendente es su insensibilidad
para la reflexión—un "cabeza rapada" neo-nazi que golpea a los negros es consciente de lo que hace, pero lo hace de todas maneras."esto seria como trabajar en digital y producir como si utilizaramos filme, por ejemplo... hay que detenernos un momento y pensar, las reglas del film no necesariamente funcionan de la mejor manera en digital, quiza algunos dicen que seguir estas reglas (que no son reglas, sino una serie de pautas o codigos para establecer una comunicacion),
evitando esto podemos avanzar a el desarrollo del lexico del cine digital que el film no nos permita (que si es cine aunque sea video, por que sigue el mismo principio de lo que hace al cine ser cine y es la puesta en camara y puesta en escena capturado en una serie de imagenes en movimiento)
podemos realizar tomas mas largas, correcciones de color mas complejas, podemos expresar mas y mover al espectador en distintas maneras, no lo se... parece no haber muchos limites para esta herramienta por ahora, solo economicas o de tiempo y no tantas como el film, asi que, hay que volvernos locos y explorar lo que el medio nos puede dar para crear nuestro cine dentro del cual no todos somos artistas, todos podriamos ser pero no quiere decir que debamos porque podemos. "lets keep finding our way"
aqui les dejo tambien algo que habla por mi y mejor:
Jim Jarmusch’s Golden Rules
Rule #1: There are no rules. There are as many ways to make a film as there are potential filmmakers. It’s an open form. Anyway, I would personally never presume to tell anyone else what to do or how to do anything. To me that’s like telling someone else what their religious beliefs should be. Fuck that. That’s against my personal philosophy—more of a code than a set of “rules.” Therefore, disregard the “rules” you are presently reading, and instead consider them to be merely notes to myself. One should make one’s own “notes” because there is no one way to do anything. If anyone tells you there is only one way, their way, get as far away from them as possible, both physically and philosophically.
Rule #2: Don’t let the fuckers get ya. They can either help you, or not help you, but they can’t stop you. People who finance films, distribute films, promote films and exhibit films are not filmmakers. They are not interested in letting filmmakers define and dictate the way they do their business, so filmmakers should have no interest in allowing them to dictate the way a film is made. Carry a gun if necessary.
Also, avoid sycophants at all costs. There are always people around who only want to be involved in filmmaking to get rich, get famous, or get laid. Generally, they know as much about filmmaking as George W. Bush knows about hand-to-hand combat.
Rule #3: The production is there to serve the film. The film is not there to serve the production. Unfortunately, in the world of filmmaking this is almost universally backwards. The film is not being made to serve the budget, the schedule, or the resumes of those involved. Filmmakers who don’t understand this should be hung from their ankles and asked why the sky appears to be upside down.
Rule #4: Filmmaking is a collaborative process. You get the chance to work with others whose minds and ideas may be stronger than your own. Make sure they remain focused on their own function and not someone else’s job, or you’ll have a big mess. But treat all collaborators as equals and with respect. A production assistant who is holding back traffic so the crew can get a shot is no less important than the actors in the scene, the director of photography, the production designer or the director. Hierarchy is for those whose egos are inflated or out of control, or for people in the military. Those with whom you choose to collaborate, if you make good choices, can elevate the quality and content of your film to a much higher plane than any one mind could imagine on its own. If you don’t want to work with other people, go paint a painting or write a book. (And if you want to be a fucking dictator, I guess these days you just have to go into politics...).
Rule #5: Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”
citas de:
"Tu Puedes o el superego postmoderno":
Slavoj Zizek
"Golden Rules"
Jim Jarmusch
