Wednesday, February 20, 2008

Tsitsanis-Thodorakis - Kapoia mana anastenazei




Πιστεύω ότι το συγκεκριμένο βίντεο έχει κάποιο ιστορικό ενδιαφέρον, τουλάχιστον για τους φίλους της ελληνικής μουσικής. Τον Αύγουστο του 1983 διοργανώθηκε στον Κόκκινο Βράχο της Νίκαιας μια βραδιά αφιερωμένη στον Βασίλη Τσιτσάνη. Στο βίντεο παρουσιάζεται ένα απόσπασμα της ομιλίας του Μίκη Θεοδωράκη στην έναρξη της βραδιάς και στη συνέχεια το γνωστό τραγούδι του Τσιτσάνη "Κάποια μάνα αναστενάζει" ερμηνευμένο και από τους δύο. Για την ιστορία αναφέρω ότι ο Τσιτσάνης έφυγε από τη ζωή λίγους μήνες μετά, τον Ιανουάριο του 1984.

ΚΑΙ ΠΟΥ ΝΑ ΑΚΟΥΣΕΙΣ ΤΙΣ ΔΙΗΓΗΣΕΙΣ ΤΟΥ ΠΑΤΕΡΑ ΜΟΥ ΓΙΑΤΗΝ ΜΑΥΡΗ ΙΚΑΡΙΑ. ΤΡΑΓΟΥΔΗΣΕ ΑΥΤΟ ΤΟ ΤΡΑΓΟΥΔΙ ΚΑΙ ΟΙ ΛΑΚΕΔΕΣ ΣΤΟΝ ΩΡΩΠΟ ΤΟΝ ΤΥΛΙΞΑΝ ΣΕ ΕΝΑ ΛΑΔΟΧΑΡΤΟ ΚΑΙ ΤΟΝ ΕΣΤΕΙΛΑΝ ΣΕ ΥΠΟΧΡΕΩΤΙΚΕΣ ΔΙΑΚΟΠΕΣ ΣΤΗΝ ΑΓΟΝΗ ΝΗΣΙΩΤΙΚΗ ΓΡΑΜΜΗ. ΓΙΑ ΤΟ ΚΟΥΡΑΓΙΟ ΤΟΥ ΑΔΗΛΩΤΟΥ ΘΑ ΤΟΝ ΘΥΜΑΜΑΙ ΠΑΝΤΑ .

Kai h deuterh tou idiou tou Mpamph Mpakalh. Kapoio brady ligo kairo meta pou to egrapse (kai eno eixe glytosei tis ameses synepeies, asfaleia klp giati htan kata bash dexios, kai me kapoio stelexos ths asfaleis syggenh tou), tou thn epesan sto spiti, espasan portes klp, trampoukoi to ekanan touloumi sto xylo kai tou fonazan "Xereis re giati exei xronia na dei to paidi ths, giati einai koumouni kai einai exoria kai ekei 8a meinei".
Tetoies omorfies!

H mia gia th MEGALH BELLOU:
Mesa sth mavrila tou metemfyliakou ka8estotos mpainoun sto magazi pou tragoudaei oi adelfoi Katelanoi, gnostoi trampoukoi ths dexias kai ths paraggelnoun to tragoudi.
Ekeinh aptohth (alloste eixe kanei
antartissa sta Dekembriana) tolmaei kai leei "Apo th mavri Ikaria".

Xamos! Oi Katelanoi sto dialleima pane sto kamarini ths kai thn kanoun
ashkoth sto xylo.

To megaleio mias antartissas kai enos tragoudiou kai h xeftila ton lakedon ths exousias!

Kala to video einai documento, omos kai to tragoudi einai shmeio anaforas.
Kai edo exoume to yperoxo telos, opos de mporese na to hxografhsei o Tsitsanis logo logokrisias:
Apo th mavri Ikaria! Edo fainetai h ousia tou tragoudiou.

Exo diabasei 2 dihghseis gia auto to tragoudi.

ΑΥΤΟ ΤΟ ΤΡΑΓΟΥΔΙ ΤΟ ΤΡΑΓΟΥΔΗΣΕ Ο ΗΛΙΑΣ ΜΙΧΑΛΑΚΗΣ ΣΤΟΝ ΩΡΩΠΟ ΑΤΤΙΚΗΣ ΚΑΙ ΕΞΟΡΙΣΤΗΚΕ 3 ΧΡΟΝΙΑ ΣΤΗΝ ΜΑΚΡΟΝΗΣΟ ΚΑΙ ΕΠΕΙΤΑ ΣΤΗΝ ΙΚΑΡΙΑ. Α Θ Α Ν Α Τ Ο Σ .

Unprecedented,insuperable!
Monadiko,axeperasto,Na zisis Miki!

Δυστυχώς σήμερα υπάρχουν μόνο τσουκνίδες και μολόχες και το κακό είναι ότι ο κόσμος τις παιρνάει για πλατάνια... Γεία σου Μίκη προφήτη...

Kapoia mana anastenazei....

Dakrysa vre paidia! Logia den yparxoun !
at

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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