The epic CAPE
mass berlusconizzata no faith or projects, no future, it is impenetrable by word and by reasoning, he believes only what he sees, or the life of Truman Show TV , without which it would dissolve. As shown in the film by Sabina Guzzanti, decipher the hallucinatory world of Berlusconi, and above all grasp the reasons for the consensus that collects, is a vain enterprise
Don Quixote, Rocinante by tossing in the battle with the windmill that rotates its many arms as the mythical Briareos, cries out to Sancho Panza, who rushed in a gallop on his mule, "the magician Freston, after stealing the room and the books, has turned the giants into windmills to deprive him of the pride of winning it, but in the end, little will be worth its arts evil against the goodness of his sword. " Realistic and reasonable, Aristotle, Sancho even recognizes that no dialectic can object to the reasoning of that unrestrained Platonist: raises her arms to heaven, and relies on "what God wills." For four hundred years we readers repeat the gesture of Sancho, Don Quixote and conclude that it is crazy to confuse appearance and reality, because the mills, it is true, they can also look like giants, but this is clearly an optical similarities. As Sancho, however, none of us has ever watched the scene from the only acceptable point of view, the one who denies the existence of giants, unreal figures, created by myth and legend, and thus excludes the very possibility of any confusion. If you believe in giants, Sancho, and as it does as we do with him for four hundred years, without even realizing it, then Don Quixote has his reasons, because becomes permissible to believe evil deimaghi action, able to see in a mirror something that is not "really".
Michel Foucault, in some brilliant pages of words and things, had captured the heart of the issue, redeemed by the alleged madness this unexpected hero Don Quixote of the search for similarities, "as long lean style of writing a letter, which emerged directly from the yawn of books, [...] writing nelmondo wandering in the middle of the similarity of things. " In the middle age which replaces the resemblance to the theory of representation, the quixotic adventure, said Foucault, the problem of natural insignificance of reality, and the construction of a system of signs that make sense to go, just representing it.
The reality transformed into a sign
Don Quixote fights to 'remake the epic, but in the opposite direction: this [...] claimed to tell the real deeds, promises to the memory, but Don Quixote has to catch up with reality signs, without content, the narrative. His adventure will be a deciphering of the world: a detailed path to detect the entire surface of the earth figures showing that the books tell the truth. " His feat is "to transform reality in sign. "
I thought of the fate of this emblematic of the modern anti-hero as I watched the images of tragicomic Draquila, the excellent film by Sabina Guzzanti on which our film critics have already written to Cannes, recounting the reactions of civilized to the unacceptable attack by a Minister of the Republic against an artist who has, in a very elaborate film, documents and interviews, reflections and testimonies of everyone, but all points of view.
civil refuses to believe that Europe is enshrined in both the giants of the windmills of Don Quixote, and therefore still believe that we can even discuss the facts and express opinions without this means to discredit a nation in a democracy because the nation does not coincide with any opinion, but it is the dialectic between the many different views of the parties. On a deeper level though, and beyond any private or collective opinion, the world "is outside" of our borders is more astonished by the umpteenth proof of the inability of Italian politics but now (and is the most serious problem, growing day by day) of most of the population, to conceive of the debate around facts and principles in terms of verificamateriale, historical, and philological-textual'd say, the facts of reality. In short, the alteration of the truth, lying, falsification of the facts or their significance can not be regarded as "opinion." This is the crucial point that Sabina Guzzanti took with great acumen, in a film that is no longer just a 'satire' or 'documentary', even if it brings to light a grotesque and kitsch universe and discusses important documents, such as the correction of 'public' in 'the public and private " in the decree that gives emergency powers to the Civil Defence on an endless horizon, impossible in any normal country.
a horizon virtual
seems to me that in the heart of this film dull, terribly polished to witness the carnage perpetrated by the Italian civilization of reason no longer any hope of redemption, it just puts the problem of 'why' of Berlusconi and his consent to post-democratic regime, which now threatens democracy from using his logical tools, political and institutional.
Not only intellectuals, but all sensible people, like Don Quixote, trying to decipher the hallucinatory world today of Berlusconi are still a sense, trying desperately to reduce to reason, in fact, delirium of unreality that it has imposed. Despair, disenchantment, overwhelm those who continue to try to interpret reality according to the principle of non-contradiction.
Sabina Guzzanti's film is populated by earthquake victims locked in "fields" (in German Lager says) with a "head" to delegate decisions on limitations on the rights of expression and movement, which scream their anger and their contempt for a system, taking advantage of a state of permanent emergency, turn the instruments of democracy to gain weight dirty money corrupting private institutions pubbliche.Ma is also filled with other earthquake victims, not different from the first for social and cultural background, which, entering the hut clean and aseptic frighteningly "reconstruction", say, always smiling as their Head, of having had "a gift from the state, that is, by Berlusconi, the very day of his birthday 'but happy after having shown the ultra-thin TV, the trivet, crockery, oven,' the mix ' ; new state without even realizing, of course, the contradiction of being "out place ',' uncomfortable ', alienated those in houses with champagne reception and, as the offices of a list of the goods supplied to be returned intact at the start.
The act of "donation" is not political, public, yet personal, private. The whole world, virtual reality in which the Truman / truemen Berlusconi live, is a prosthesis gifts of the Body of the Cape. The whole reality is "the body image in the Cape," according to the formula intelligent Marco Belpoliti. Rights and responsibilities, respect and commitment, fade in the face of logic and fetishistic tribal Cape offers, gives, grants, and therefore not "government" but "decide" not "chair" and "coordination" but "controls."
The truth is difficult to admit and accept that the indifference is not only populist Berlusconi has managed to infiltrate the population through the dismantling of any ethical and political principle, weaving a network of diverse laxity, permissiveness, corruption , dimalaffare, illicit trafficking. Last Pasolini, one of the Letters ruthlessly prophetic Lutheran, had already Read the bastardize and soften even the system in detail sexual obsession, "The company preconsumistica needed strong men, and so chaste. The consumer society really needs are weak, and so luxurious. "
But there is a truth even more dreadful in Guzzanti's film offers a new, transparent documentation, and that the current political opposition difficult to recognize in a loud voice, wrapped in distinction and losers in compromise: both Berlusconizzato Sancho, Don Quixote is the defender of democracy and unconsciously believe irretrievably the giants (and their possible transformation into mills), all living in the same virtual horizon, made up of simulacra, just from Truman Show, schizophrenic, psychotic, because no one in it now recognizes the line between true and false, between body and ghost. The victim of the vampire becomes a vampire too, and can not free themselves from slavery: the vampire vampire, until "all are equal" (which is precisely the perverse slogan of anti qualunquistica now winning). How proclaims, terrible, a respondent in the final scene of the film, no longer need to hope that the wave overwhelm the scandals: why this should happen that there should be a reaction to the action, that some of Berlusconi's supporters, still angry, he felt, rather than remain inactive, addicted, still before the massacre in the logic and truth.
This is the shadow line on which the comparison eticopolitico suffers defeat of reason and argument, to which no Democrat wants to nor can renounce: to defeat forces to invent new tools for analysis and impact in the real world ;. You are unable to crystallize a more rational and reasonable comparison, a place ethical and cultural dimed. Elias Canetti called it "crystal mass" groups, "lasting and unalterable," who "stand out eerily from within the mass unrest": "it would lead any mass and any measure of it is absorbed, will not lose ; never quite the sense of his individuality, and will recover soon after the disintegration of the mass. " But a clan of businessmen shamelessly arrogant, immoral, anti-political, is not and will never be a "crystal mass." He has no ideas and ideologies, is not individuality, does not aggregate anything around him. Hit and run, making and eating this, so it creates the future, indeed it vanishes.
A future completed
mass berlusconizzata no longer has a crystal heart, he has no faith or projects. Has no future. He believes only what he sees: the Truman Show or the television life, without which it would dissolve. Is an inert mass, impenetrable by word and by reasoning, opaque mass trumanizzata and traumatized by the TV that knows and understands only the present without mediation, things, no more words. Our helpless and hopeless is losing time in politics because he saw dissolves forms of mediation, and now the mere communication to swallow emetabolizzare immediately stifles the argument, which is made of steps, procedures, logic, so Outlook and the future.
Who exalts the dangerous nature of giant Berlusconi we continue to say that it is only a windmill, but forgot to mention that the giants do not exist. The very title of the film, Draquila, wonderful play on words between Dracula and L'Aquila, Sabina Guzzanti has received in his blog by an unknown young man of great intelligence, it seems to me to mention at this vacuum, this ontological absence dall'antipolitica tax, filled only by the looting of vampirism business in the city-state earthquake.
Remember the wonderful dance scene with the vampire Please do not bite on the neck? Roman Polanski and his fellow adventure unminuetto imparruccato dance hall of a castle, but suddenly in the mirror you only see their two bodies. Those vampires are not there, because (it's the basic idea) vampires do not exist: therefore not reflected. So it
Cape, which exists only as long as his body is projected in the mirror TV and introjected in the mind of spettatori.Ma must look sideways, sideways, to discover the trick: the king is not even naked, indeed, now just does not exist. There is only its image that exists and thrives, and dries up and eats and reproduces, fantasy, vampire.
(Corrado Bologna, "the manifesto of 18 May 2010)
