{"id":6800,"date":"2011-05-16T19:24:07","date_gmt":"2011-05-16T17:24:07","guid":{"rendered":"http:\/\/egophobia.ro\/?p=6800"},"modified":"2011-05-20T19:31:33","modified_gmt":"2011-05-20T17:31:33","slug":"constiinta-poetica-cinematografica","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=6800","title":{"rendered":"Con\u015ftiin\u0163a poetic\u0103 cinematografic\u0103"},"content":{"rendered":"<p align=\"justify\"><font color=green>(ca prin oglind\u0103)<\/font><\/p>\n<p align=right>de Marius-Iulian Stancu<\/p>\n<p align=justify>\n\u00centr-o lume \u00eensufle\u0163it\u0103 de spiritul cinematografic (Gilles Lipovetsky, Jean Serroy, Ecranul Global), \u00eentr-o lume a fiin\u0163elor \u201cborn digital\u201d (Maria Engberg [\u201c\u00eemi intr\u0103 un ram de p\u0103r pe geam\u201d &#8211; cineva s\u0103 ne-mpu\u015fte]), \u00een cadrul unei societ\u0103\u0163i cinematografice (Norman K. Denzin), poezia momentului mizeaz\u0103 la r\u00e2ndul ei pe o cinematizare a actului poetic, problematiz\u00e2nd \u201cspectacularizarea venit\u0103 dinspre ecran\u201d (Ecranul Global): \u201cmi se face mil\u0103 de tine\u2026\/ c\u0103 nu e ceva\/ filmat de undeva de mai sus.\u201d (aminte\u015fte-mi s\u0103-\u0163i povestesc ce-am v\u0103zut azi pe strad\u0103); \u201c\u00een capul meu\/ \u0163in o rol\u0103 de film\u201d (a 3a m\u00e2n\u0103); \u201cmi-ar fi mult mai u\u015for s\u0103 vorbesc cu aparatul \u00een m\u00e2n\u0103\/ p\u00e2n\u0103 mi-ar tremura antebra\u0163ele \u015fi m-ar l\u0103sa acumulatorii\u201d (cineva s\u0103 ne-mpu\u015fte). <!--more--><\/p>\n<p align=justify>\nDac\u0103 \u00een poezia lui \u015etefan Bolea, de exemplu, opereaz\u0103 o con\u015ftiin\u0163\u0103 cinematografic\u0103, \u00een genul celei din filosofia unui Baudrillard, a unui ego ce se trage din <em>Matrix<\/em> \u00een ceea ce prive\u015fte \u201cpraxis\u201d-ul revolu\u0163ionar, cu o \u201ctheoria\u201d conectat\u0103 la anarhismul conturat de Palahniuk \u00een Fight Club (\u201cpoate data viitoare c\u00e2nd m\u0103 uit \u00een oglind\u0103 am s\u0103 m\u0103\/ plictisesc de felul cum sur\u00e2d din ochi\/ \u015fi poate am s\u0103 m\u0103 g\u00e2ndesc serios-cum se spune? \/ &#8211; s\u0103 fac o schimbare\/ s\u0103 scotocesc ad\u00e2nc cu un cu\u0163it prin orbite, poate reu\u015fesc &#8211; \/ \u015ftii tu &#8211; s\u0103 m\u0103 descotorosesc de un organ care mi-e\/ oricum nefolositor\u2026\u201d \u2013 decupaj), la Alice Drogoreanu nu se pune problema v\u00e2n\u0103torii de \u201creplici\u201d (vezi Blade Runner), la o demascare a simulacrului ce a ajuns s\u0103 \u00eenlocuiasc\u0103 realul. Con\u015ftiin\u0163a cinematografic\u0103 de tip Fang are mai degrab\u0103 un rol protector pentru animalul poetic (ca \u201co pung\u0103 de plastic\u201d; \u201cam vrut s\u0103 ating punga de plastic.\/\/ dac\u0103 o fac\/ nu mori tu mor eu.\u201d \u2013 fang), ipostas al fricii: \u201caceea\u015fi fric\u0103\/ care st\u0103 \u00een pragu\u2019 u\u015fii\/ cu burta rotund\u0103 alb\u0103 \u015fi moale umfl\u00e2ndu-se\/ dezumfl\u00e2ndu-se \u00een ritmul respira\u0163iei\/ ciulindu-\u015fi urechile\u201d (aminte\u015fte-mi s\u0103-\u0163i povestesc ce-am v\u0103zut azi pe strad\u0103). \u201cDac\u0103 ceva devine prea traumatic, prea violent, chiar mult prea plin de pl\u0103cere, satureaz\u0103 coordonatele realit\u0103\u0163ii noastre, pe care trebuie s\u0103 o fic\u0163ionaliz\u0103m\u201d (Slavoj Zizek, The Pervert\u2019s Guide to Cinema). Prin intermediul fic\u0163ionaliz\u0103rii \u00een cheia vizualului rana\/trauma este \u0163inut\u0103 la distan\u0163\u0103 (ca s\u0103 nu se vad\u0103 \u00eenfr\u00e2ngerea) iar animalul poetic se domestice\u015fte. Pentru c\u0103 \u201cArta nu izvor\u0103\u015fte niciodat\u0103 din fericire\u201d (Chuck Palahniuk, Sufocare). Ceea ce se \u00eent\u00e2mpl\u0103 \u201c\u00een afar\u0103\u201d nu are importan\u0163\u0103 dec\u00e2t \u00een m\u0103sura \u00een care reflect\u0103 realit\u0103\u0163ile interioare ce ajung s\u0103 transfigureze\/distorsioneze un mediu ce \u00eencepe s\u0103 func\u0163ioneze \u015fi el potrivit legilor subiectivit\u0103\u0163ii, deschiz\u00e2nd \u00een sine r\u0103nile realului: \u201ce noiembrie\/\/ \u015fi frigul \u0103sta de-aici e f\u0103r\u0103 angajament \u015fi f\u0103r\u0103 convingere\/ ca o leg\u0103tur\u0103 care \u0163ine o vreme doi oameni\u201d (fang). <\/p>\n<p align=justify>\nImaginii statice, a c\u0103rei origine se afl\u0103 \u00een arta fotografic\u0103, i se imprim\u0103 mi\u0219carea transpus\u0103 \u00een poezie (\u201co carte cu poze \u00een mi\u0219care\u201d \u2013 mai multe litere), realiz\u00e2ndu-se ceea ce grecii desemnau prin termenul de ekphrasis, \u0219i astfel ia na\u0219tere ceea ce am desemnat drept con\u0219tiin\u021b\u0103 poetic\u0103 cinematografic\u0103 (imaginea \u2013 mi\u0219care a c\u0103rei genealogie este de-construit\u0103 \u00een textul literar). Asist\u0103m la ceea ce Pasolini numea \u2013 \u201ccitire\u201d a realit\u0103\u021bii \u00een termenii vizualului (The Cinema of Poetry). Un vocabular construit cu ajutorul unor alte tipuri de limbaj dec\u00e2t cele gramaticale \u2013 limbajul gesturilor, al mediului \u00eenconjur\u0103tor, al viselor \u0219i al amintirilor. \u00cen Fang lumea obiectelor contureaz\u0103 adesea, \u00een locul cuvintelor, ca veritabile \u201cimagini-semne\u201d (Pasolini), micile istorii ale trupului (\u201ce\u0219ti o lamp\u0103 verde pentru c\u0103 o vreau\/ \u0219i o am\/ e\u0219ti un ceas cool la care nu m\u0103 uit\/ dar \u00eel am\/ e\u0219ti o c\u0103ma\u0219\u0103 b\u0103\u021boas\u0103\/ pe care o port la var\u0103\/ e\u0219ti o \u021bigare pe care o fumez incon\u0219tient\/ da\u2019 m\u0103 disper\u0103 ideea c\u0103 se termin\u0103\/\/ c\u00e2nd mi se umple gura de poft\u0103\/ nu e\u0219ti\u201d \u2013 ridichea uria\u0219\u0103), ale trupului ce \u201cafecteaz\u0103\u201d (precum \u00een filmele lui Wong Kar-Wai, \u0219i \u00een poezia lui Alice Drogoreanu, obiectele sunt \u201cafectate\u201d de tr\u0103irile personajelor) \u0219i se las\u0103 \u201cafectat\u201d (\u201cpe u\u0219\u0103 intrau\/ fabricile dormitoarele gara ora\u0219ul\u201d \u2013 ridichea uria\u0219\u0103). Patul dublu, un \u0219ifonier, o mas\u0103, ma\u0219ina de sp\u0103lat, frigiderul, cearceaful pe care p\u00e2lp\u00e2ie insule ciudate, linkuri, clipuri, melodii, ca \u201cun set minimal de prim ajutor\u2026\/ care completeaz\u0103 ce nu pot defini sau spune\u201d (oase de pui), toate acestea reprezint\u0103 efortul sisific al memoriei de a reconstrui universul micro (\u201cnu pot s\u0103 te recreez din nimic\u201d \u2013 \u021bin ochii deschi\u0219i \u0219i nu v\u0103d nimic) prin intermediul unor descrieri minimaliste, \u00eenso\u021bite de cele mai multe ori de gesturi strict opera\u021bionale (\u201cam ie\u0219it am \u00eencuiat am descuiat am intrat a\u0219adar\/ am ascultat m-am sim\u021bit prost\/ mi-am pus crem\u0103 de m\u00e2ini \u0219i nimic\u201d \u2013 n-am mai v\u0103zut pe nimeni pe strad\u0103).<\/p>\n<p align=justify>\nRaportul eului cu spa\u021biul este departe de a fi unul armonios (\u201cdungi care se fixeaz\u0103 aiurea \u00een creier\u201d \u2013 aminte\u0219te-mi s\u0103-\u021bi povestesc ce-am v\u0103zut azi pe strad\u0103), un spa\u021biu aflat \u00eentr-un proces permanent de dezintegrare (vezi arhitectura visului ce se dezintegreaz\u0103 \u00een Inception atunci c\u00e2nd are loc trezirea), pentru c\u0103 \u201clucrurile se stric\u0103\u201d (doppler effect), \u00eentr-un joc permanent al realului cu irealul, proces de dezintegrare la care eul poetic contribuie din plin, \u00eentr-un univers mixat \u0219i re-mixat la nivel instinctual (\u00een care lucrurile se rostogolesc, \u0219i-o pun \u00eentre ele \u2013 \u021bin ochii deschi\u0219i \u0219i nu v\u0103d nimic), asemeni rela\u021biilor \u201ccare se fut dracu\u2019 \u0219tie de ce\u201d (aminte\u0219te-mi s\u0103-\u021bi povestesc ce-am v\u0103zut azi pe strad\u0103). Caracteristicile principale ale unui astfel de univers sunt violen\u021ba (\u201cm\u0103 las \u00een genunchi. mi-a\u0219 b\u0103ga m\u00e2na pe g\u00e2t s\u0103 simt\/ violen\u021ba. am senza\u021bia\/ c\u0103 sute de mii de oameni fac asta odat\u0103 cu mine\u201d \u2013 fang) \u0219i visceralul (linia orizontului e \u201co ven\u0103 care\/ at\u00e2rn\u0103 simplu\/ pe care o \u021bin \u00eentre degete \u0219i-i iau pulsul\u201d \u2013 fang), un univers \u00een care fericirea erotic\u0103 \u00eencepe s\u0103 capete uneori contururi nihiliste (\u201c\u0219oseaua \u0219i-ar pierde banda\/ am fr\u00e2na fix pe margine\/ sirenele ar urla girofaruri s-ar roti ro\u0219u albastru\/ ro\u0219u albastru\/ \u0219i \u00eenainte s\u0103-mi dau p\u0103rul de pe fa\u021b\u0103\/ ne mai privim odat\u0103 \u0219i-mi bate inima speed\u2026\/ \u0219i ne\/ facem praf de st\u00e2ncile alea\u201d \u2013 cineva s\u0103 ne-mpu\u0219te).<\/p>\n<p align=justify>\nImaginea-semn se transform\u0103 \u00een poezia lui Alice Drogoreanu \u00een imagine-afect, o stare \u00een care subiectul \u0219i obiectul coincid \u00eentr-o calitate pur\u0103, \u00een care \u201cmi\u0219carea \u00eenceteaza s\u0103 mai fie una de transla\u021bie pentru a deveni mi\u0219care de expresie\u201d (Gilles Deleuze, Cinema 1 \u2013 The Movement-Image).<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i158.photobucket.com\/albums\/t103\/egophobia\/31\/fil31-03.jpg?w=500\" ><\/p>\n","protected":false},"excerpt":{"rendered":"<p>(ca prin oglind\u0103) de Marius-Iulian Stancu \u00centr-o lume \u00eensufle\u0163it\u0103 de spiritul cinematografic (Gilles Lipovetsky, Jean Serroy, Ecranul Global), \u00eentr-o lume a fiin\u0163elor \u201cborn digital\u201d (Maria Engberg [\u201c\u00eemi intr\u0103 un ram de p\u0103r pe geam\u201d &#8211; cineva s\u0103 ne-mpu\u015fte]), \u00een cadrul unei societ\u0103\u0163i cinematografice (Norman K. Denzin), poezia momentului mizeaz\u0103 la r\u00e2ndul ei pe o cinematizare [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[48,731,27],"tags":[742,30,1152,1117,60],"class_list":["post-6800","post","type-post","status-publish","format-standard","hentry","category-ca-prin-oglind","category-egophobia-31","category-filosofie","tag-alice-drogoreanu","tag-ca-prin-oglinda","tag-egophobia-31","tag-filosofie","tag-marius-iulian-stancu"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-1LG","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6800","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6800"}],"version-history":[{"count":1,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6800\/revisions"}],"predecessor-version":[{"id":6801,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6800\/revisions\/6801"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6800"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6800"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6800"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}