The only truly alien planet is Earth. - UniCA Eprints - Università degli ...
The only truly alien planet is Earth. - UniCA Eprints - Università degli ...
The only truly alien planet is Earth. - UniCA Eprints - Università degli ...
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umano, particolarmente simili all’originale, <strong>degli</strong> autentici simulacri nell’ordine contemporaneo<br />
della simulazione secondo la d<strong>is</strong>tinzione che ne dà Baudrillard nel suo Lo scambio simbolico e la<br />
morte (1976).<br />
Ma il reg<strong>is</strong>ta più legato al surreal<strong>is</strong>mo è stato naturalmente Lu<strong>is</strong> Buñuel (1900-1983). Un<br />
chien andalou 391 (1928) e L'âge d'or (1930) sono i suoi due capolavori concepiti insieme a Salvador<br />
Dalí. Il primo è<br />
una sorta di catalogo v<strong>is</strong>uale del surreal<strong>is</strong>mo: abbattimento dei codici borghesi e liberazione totale<br />
dell’inconscio, associazione concettuali libere e dimensione onirica e psicoanalitica del racconto, ricerca di<br />
automat<strong>is</strong>mi mentali e tensione erotica (amour fou). Ed ancora: d<strong>is</strong>prezzo per le regole della tecnica filmica,<br />
abbattimento della logica lineare della narrazione, montaggio apparentemente tradizionale ma in realtà<br />
basato su una specie di d<strong>is</strong>orientamento della logica spazio-temporale, testo v<strong>is</strong>ivo inteso come riproduzione<br />
dell’inconscio, tendenza verso un’impostazione figurativa da tratti anti-natural<strong>is</strong>tici 392 .<br />
A proposito di questo film, in un articolo apparso su un quotidiano qualche anno fa, Ballard<br />
scrive:<br />
[In Un Chien Andalou] there are no clues to behaviour. Ants pour from a hole in the young man’s<br />
palm. Rebuffed, he puts on a curious harness and drags towards the young woman a huge contraption<br />
cons<strong>is</strong>ting of two priests lying on their backs, tied to a grand piano across which <strong>is</strong> draped a dead donkey.<br />
What comes through th<strong>is</strong> 15-minute film <strong>is</strong> the feeling that it would all make sense if its scenes were<br />
assembled in the right order. But of course it would not make sense, whatever the order, and I take th<strong>is</strong> to be<br />
the point of the film. <strong>The</strong> reality we inhabit daily, our domestic interiors and their emotional dramas, the<br />
hands helplessly caressing a young woman’s breasts, the tenn<strong>is</strong> racket she uses to drive away her unwanted<br />
suitor (the surreal<strong>is</strong>ts were intensely middle class), the small section of space-time we blunder through, are<br />
all equally unreal, though meaning and sanity seem tantal<strong>is</strong>ingly within our grasp 393 .<br />
L'âge d'or, definito da Octavio Paz «una rivelazione: l’improvv<strong>is</strong>a apparizione di una verità<br />
occulta e sotterranea, ma viva» 394 , è un’opera pervasa da un’ironia feroce, che si serve di elementi<br />
M<strong>is</strong>t swirls, rubb<strong>is</strong>h piles up, infrastructures are in a state of d<strong>is</strong>integration that makes the pot-holes and failing bridges<br />
of contemporary New York look mild by compar<strong>is</strong>on. Punks and scavengers roam among the garbage, stealing<br />
whatever they can.» D. Harvey, op.cit., p. 310.<br />
391<br />
«Th<strong>is</strong> film can be d<strong>is</strong>tingu<strong>is</strong>hed from banal avant-garde productions, with which one might be tempted to confuse it,<br />
in that the screenplay predominates. Several very explicit facts appear in successive order, without logical connection it<br />
<strong>is</strong> true, but penetrating so far into horror that the spectators are caught up as directly as they are in adventure films.<br />
Caught up and even prec<strong>is</strong>ely caught by the throat, and without artifice; do these spectators know, in fact, where they –<br />
the authors of th<strong>is</strong> film, or people like them – will stop? If Buñuel himself, after the filming of the slit-open eye,<br />
remained sick for a week (he, moreover, had to film the scene of the asses’ cadavers in a pestilential atmosphere), how<br />
then can one not see to what extent horror becomes fascinating, and how it alone <strong>is</strong> brutal enough to break everything<br />
that stifles?» George Bataille, “<strong>The</strong> eye”, in V<strong>is</strong>ions of Excess: Selected Writings, 1927-1939, trad. e cura di Allan<br />
Stoekl, Minneapol<strong>is</strong>, MN, University of Minnesota, 1985, p. 19.<br />
392<br />
Maurizio G. De Bon<strong>is</strong>, "Un chien andalou (1928) e L’âge d’or (1930) - Il tocco di Dalì e lo sguardo di Buñuel”,<br />
2004 (Fonte: http://blog.cinema.it/post/169/un-chien-andalou-1928-e-lage-dor-1930-il-tocco-di-dali-e-lo-sguardo-dibunuel)<br />
[Ultima v<strong>is</strong>ita 20/06/2010].<br />
393<br />
J. G. Ballard, “Shock and Gore”, <strong>The</strong> Guardian, 26/05/2007 (http://www.ballardian.com/ballardosphere-wrapuppart-5)<br />
[Ultima v<strong>is</strong>ita 22/08/2011].<br />
394<br />
Octavio Paz, El ojo – Buñuel, México y el Surreal<strong>is</strong>mo, Consejo Nacional para la Cultura y los Artes, México D. F.<br />
1996 (http://www.frameonline.it/Scrittori_Paz.htm) [Ultima v<strong>is</strong>ita 22/08/2010].<br />
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