I shall be brief - but, since time is elastic, I am afraid you are going to hear me for one hundred and eighty very long seconds.
We are witnessing not only the end of a century but the end of a historical period. What will arise from the collapse of ideology? Is this the dawn of an era of universal concord and freedom for all or will there be a resurgence of tribal idolatry and religious fanaticism, unleashing discord and tyranny? Will the powerful democracies that have achieved freedom and abundance become less selfish and show more understanding towards the deprived nations? Will the latter learn to distrust the preachers of doctrinaire violence who have led them to failure? And in my own part of the world, in Latin America, and especially in Mexico, my native land, will we finally achieve true modernity, which is not just political democracy, economic prosperity and social justice but also reconciliation with our tradition and with ourselves?
It is impossible to know. The recent past has taught us that no-one holds the keys to history. The century ends with a throng of questions. Yet we can be certain of one thing: life on our planet is endangered. Our unthinking cult of progress together with the very advances in our struggle to exploit nature have turned into a suicidal race. Just as we are beginning to unravel the secrets of the galaxies and the atomic particle, as we explore the enigmas of molecular biology and the origins of life, we have wounded the very heart of nature. This is why the most immediate and most urgent question is the survival of the environment, regardless of whatever forms of social and political organization nations may choose. The defence of nature is the defence of mankind.
At the close of this century we have discovered that we are part of a vast system (or network of systems) ranging from plants and animals to cells, molecules, atoms and stars. We are a link in "the great chain of being", as the philosophers of antiquity used to call the universe. One of man's oldest gestures, repeated daily from the beginning of time, is to look up and marvel at the starry sky. This act of contemplation frequently ends in a feeling of fraternal identification with the universe. In the countryside one night, years ago, as I contemplated the stars in the cloudless sky, I heard the metallic sound of the elytra of a cricket. There was a strange correspondence between the reverberation of the firmament at night and the music of the tiny insect. I wrote these lines:
The sky's big.
Up there, worlds scatter.
Persistent,
unfazed by so much night,
a cricket: brace and bit.
Stars, hills, clouds, trees, birds, crickets, men: each has its world, each is a world, and yet all of these worlds correspond. We can only defend life if we experience a revival of this feeling of solidarity with nature. It is not impossible: fraternity is a word that belongs to the traditions of Liberalism and Socialism, of science and religion.
I raise my glass - another ancient gesture of fraternity - and drink to the health, happiness and prosperity of Your Majesties and to the great, noble and peace-loving people of Sweden.
Even with our most trusted friends we feel reluctant to talk about complex meanings or complex kinds of responses because we feel our language is not adequate ..(concept, terminology..etc) Perhaps education gives us a language to articulate what we know and experience but we cannot adequately communicate. If we are determined though we will acquire this language...A "film language", drawback though, film language "any" language in fact, does "our thinking for us".
Wednesday, October 10, 2007
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- Food and Mood
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The discourse of "Film Culture" requires us to conceive of cinema in its own terms.
The discourse of film research will lead us to particular descriptions, " limited" kinds of analysis determined by the categories cinema provides.
Discourse is a complex concept. It refers to the way in which something is told not just in terms of its specific language (whether verbal or visual) but also in terms of what it prioritizes. Discourses are both general and specific. Narrative "realist" cinema is a discursive form, a particular kind of human expression which represents the world in a certain way, employs a particular kind of a time-visual "language". Within narrative "realist" cinema as a whole, particular genres have their own more specific discourses. i.e. The Sci-Fi film is preoccupied with themata (idea-themes) of science and control. the romance is preoccupied with themata of sexuality, gender and often property relations. These ideas are either implicit -taken for granted within the way the story is conceived or explicit - in that the film actively promoted certain values, attitudes and beliefs.
The concept of Discourse is closely connected with another key concept HEGEMONY "taken-for-granted" a "common sense" outlook on some aspect of human reality shared by the vast majority of people within the society. Hegemony helps us to understand the illusion that commonly shared attitudes and values, ways of making sense of our world, appear to come from nowhere. Narrative "realist" cinema has this characteristic, it disguises its discursiveness by pretending to be simply "there". Discourses about law and order and sexuality, for example - are themselves seen as non-discursive, as natural, as taken for granted. These core values of society appear to come from nowhere- they simply are ! This leads to a compounding of a criticism leveled against popular cinema (and other popular media) that not only does it disguise its own discursive form, but it also "naturalizes" these profoundly significant social and political discourses. THINK CRITICALLY ABOUT THEIR "CONSTRUCTED" REALITY AND THE VALUE SYSTEMS THAT FUNDAMENTALLY INFLUENCE OUR LIVES. “being indoctrinated with a political spin.” From a commercial perspective, however, the very opposite may appear to be the case. People do not want to think critically about their "constructed" reality. They pay for their entertainment, so they can be released from the concerns of their lives. They may well want the security of hegemonic values within familiar discourses. The point is that it has less to do with questions of an active/passive audience. It has to do either with the choices we make or the level of (a)Competence - (b)Education and (c) CineNoesis we bring to cinema and the screening events we attend
The discourse of film research will lead us to particular descriptions, " limited" kinds of analysis determined by the categories cinema provides.
Discourse is a complex concept. It refers to the way in which something is told not just in terms of its specific language (whether verbal or visual) but also in terms of what it prioritizes. Discourses are both general and specific. Narrative "realist" cinema is a discursive form, a particular kind of human expression which represents the world in a certain way, employs a particular kind of a time-visual "language". Within narrative "realist" cinema as a whole, particular genres have their own more specific discourses. i.e. The Sci-Fi film is preoccupied with themata (idea-themes) of science and control. the romance is preoccupied with themata of sexuality, gender and often property relations. These ideas are either implicit -taken for granted within the way the story is conceived or explicit - in that the film actively promoted certain values, attitudes and beliefs.
The concept of Discourse is closely connected with another key concept HEGEMONY "taken-for-granted" a "common sense" outlook on some aspect of human reality shared by the vast majority of people within the society. Hegemony helps us to understand the illusion that commonly shared attitudes and values, ways of making sense of our world, appear to come from nowhere. Narrative "realist" cinema has this characteristic, it disguises its discursiveness by pretending to be simply "there". Discourses about law and order and sexuality, for example - are themselves seen as non-discursive, as natural, as taken for granted. These core values of society appear to come from nowhere- they simply are ! This leads to a compounding of a criticism leveled against popular cinema (and other popular media) that not only does it disguise its own discursive form, but it also "naturalizes" these profoundly significant social and political discourses. THINK CRITICALLY ABOUT THEIR "CONSTRUCTED" REALITY AND THE VALUE SYSTEMS THAT FUNDAMENTALLY INFLUENCE OUR LIVES. “being indoctrinated with a political spin.” From a commercial perspective, however, the very opposite may appear to be the case. People do not want to think critically about their "constructed" reality. They pay for their entertainment, so they can be released from the concerns of their lives. They may well want the security of hegemonic values within familiar discourses. The point is that it has less to do with questions of an active/passive audience. It has to do either with the choices we make or the level of (a)Competence - (b)Education and (c) CineNoesis we bring to cinema and the screening events we attend
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