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Budd Boetticher

Black Swan ( Black Swan , 2010, Darren Aronofsky)

Equipped with the true gift that makes every thinker to generate ideas that nourish or challenge the present, Pierre Bourdieu contributed to literary theory with its concept of the literary field. When you look at the last work of Darren Aronofsky, perhaps the best and most defensible, recalls Bourdieu and is tempted to paraphrase the French and speak of a "cinematographic field." So everyone assumes that Aronofsky, the child of the aristocratic posh Hollywood is willing to steal (or take the mainstream) views and ideas in Perfect Blue (1998, Satoshi Kon) or, worse, to ensure prestige in what is only a variation of Suspiria ( 1977, Dario Argento). In any case, one is reminded of Harold Bloom and what he called, precisely against these ideas, schools of resentment. As Bloom and Bourdieu, antagonistic but perfectly compatible, I share this skepticism to relativism. In the film there are scenes similar to those of Deep Red (Profondo Rosso , 1975), yet in the film, Argento does not care about the changes rather vacuous with Hitchcock but raw style. I do not question himself Argento film, but the boring cliches and relativism to accept only high culture require widespread misconceptions. Argento is not an artist at the height of Hitchcock, and this is a movie too complex, however, both as Argento Aronfosky stylists are two bright, two filmmakers with an overwhelming talent. These ironies can only arise from the aesthetics of reception and need to see Black Swan as an unusual piece of virtuoso, capable of being misinterpreted as a piece in a war at all boring and sterile.

Aronfosky film refers, in fact, Argento, Polanski also the firstborn (the repulsion, mainly), there are even some pro-French in their first, vivid drawings, a probable influence of the Dardenne brothers also addicted to the aesthetics of grain and direct. But Aronfosky is essentially a fertile ground for Hollywood's imagination, that of The Red Shoes and All About Eve , passed through a sieve, certainly bizarre, but nothing more. In this perspective, the only thing contemptible the film is predictable and underlined its excess, sometimes too obvious. But the interpretation of Natalie Portman, away from the usual mimesis in post-Streep actresses and closer to Grace Kelly, with a thin contrasting fragility and brutal anger and Aronofsky address do the rest. It is curious that after telling her story of self-destruction in key drug addict, in key and key metaphysical hyper, Aronofsky is in the ballet its artifice less forced or excuse to shine without fuss or predictable and forced moralists generic tolls.

are right Alberto Haj-Saleh and Noel Ceballos when comment that this film is a variation of The Wrestler, the former film director. Curiously, the film starring Mickey Rourke was the most admired of its director, rightly criticized, but so contrived as the rest. Most alarming was, of course, the alleged ease with which the topics on the American heartland were accepted more easily because they had been reused by other movies, like a kind full of notes required before a real artistic challenge. But for me there is one essential difference: while the neo-realism requires absolutely free poetry and difficult, this opera will move to the baroque visual sophistication, rises through the proposed fracture Aronofsky, gently breaking each shot sequence as its protagonist's mind falls apart and reaching a climax in which its form has found its most beautiful, bizarre, almost unbelievable, expression: the silent death and dramatic, emphatic and overacted, that of a crazy as last (and perhaps only) border is the body. That is, the quintessential and most interesting expression of what Aronofsky has tried virtually the rest of his filmography.

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Seven Men From Now (1956) is one of my five favorite westerns. Budd Boetticher's cinema is a matter of style and here find one of their best means of expression. Like all his films is made of tension, almost minclímax in which the characters are tested, nothing better to contrast than the grammar simple, direct and expressive.

There is a resource that is repeated in the movie three times with brilliant wit. In this film, every shot is actually a subjective level it reveals to the observer, a shadow looms. What is the aperture.:

What is to introduce the two bandits, the charismatic Marsters (Lee Marvin) and his partner Clete (Donald Barry).

And it is to report the shooting to be faced by the protagonist, Striver sheriff (Randolph Scott).


Like the best stylists, Boetticher is not repetitive but depleted resources, providing them with multiple uses expressive.

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Love is in the art

Ricardo Menéndez Salmon, the light is older than love. Seix Barral, Barcelona, \u200b\u200b2010.

Menendez Salmon have recently read three novels, published by Seix Barral and the three parts of a trilogy of Evil, which certified its entry in a literary mainstream. The first, The offense, perhaps my favorite, is a work of unusual beauty, ambitious and with a perfect structure, harmonica. The second is Collapse , irregular but thoughtful foray into the thriller of moral depth and the third Corrector, a brave idea (a novel about 11M) weighed down by characters and scenes that came to camp more than moral response to the Thomas Bernhard (stronger reference in the novel, despite the explicit reference to Demons headed the plot). These are not your only works well in winter philosophy, early work introduces the space Asturian esteemed author and dialogues, such as Shout , storybook uneven quality, have an interest in the issues.

The light is older than love is a novel that seeks to shelve this trilogy and started on the road hinted at the end of Corrector, a more optimistic and spiritual. Salmon Menéndez quite often flirts with moral pessimism, quasi-nihilist, near or Sebald Celan, a bleak vision of history as a field of destruction, but is, above all, a mystic, a rather odd, because his mysticism is born of love and art, the second an element as important as the first. Combined with a dye autofiction essays, is a succession of stories of three painters, two fictional characters (Aurelio de Robertis and Vsevolod Semiasin) and one real (the expressionist painter Mark Rothko). What these artists have in common is their ability to produce unique works, demolition, axfisiantes environments, although the case of Russia is more special is structured as a mystery in his biography, a possible meeting with the Russian dictator Stalin. Semiasin life goes with the anguish of an art market eclipsed perhaps for the S11, while Rothko is evoked as the product key, love, holding much of the thesis of the book (which only love and create art or make us look a little less miserable). Menendez Salmon, with a very fine education in philosophy, has the talent to turn his speech into something important and do it with a strictly contemporary novel, it is testing, and historical fiction autofiction without these contrasts stop adding layers to your thesis or make it more evocative and accurate, more unusual, pure.

easy digestion surprising influences Menéndez Salmon undertaken by both the variety of styles, and by the amazing ease with which the author makes his own, without a mass, almost never, precursors. The first part deals with a twelfth-century painter named Aurelio de Robertis, author of The Virgin bearded box and assimilation is one of the brightest I've seen of Pierre Michon, French writer with a fondness for stories and nouvelles and a keen sense of prose and irony, always sharp perspective on some unusual historical narrative. Salmon michoniana accurately describes the dreams and ambitions of an inquisitor busy to destroy the picture of the painter.

Beaufort inspires loud while watching how the rate of entanglement in the bearded impostor. The virility of the cardinal deacon - women who look with a bow that conceals nothing languorous passions and whose fingers, square and strong, seem made for living flesh bless and sleep on skins fragrant - clenches his fists burying his desire to beat De Robertis .

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dreams

unexpected, brutal, sudden, Adriano de Robertis, the noble (and fictional) painter of the picture The bearded virgin that disrupts the plans of a repressive world:

pain chest dazzled him one evening, as if someone stabbed him in the hour of siesta, and unbearable during the passage of the fifteen minutes it takes to die (leaning against a wall of the empty dining hall, without the strength to scream or ask for help with staring at a ceiling that outlines paths without genius asthenic angels and the figure of God the Father syrupy, but enthusiastic disciples of those ancient cruelty of Beaufort became instruments of hate), while conquering arm pain left trigeminal and flowers all over his body with intolerable fury, De Robertis assail him two memories: that of his Virgin Barbuda and a conversation between these walls clothe his death now

What Menéndez inherited from Michon Salmon is the use of language to be specific to always express the views of his characters, their feelings and naked with surprising clarity. Throughout the first part, the author's voice is absent and only the story speaks for itself.

The brief story of discovering a literary Bocanegra has let Enrique Vila-Matas and for a moment, Menéndez Salmon on the style of the teacher. But Vila-Matas is essentially the great artist termite English literature, if I import the end of the critical Film and painter Manny Farber. Salmon is pure Art Menéndez Elephant why Bocanegra's story soon delve more in a tone close to both Sebald (the walk through the ruins worship and contemporary literature, with affinity in elegant similes film) and Philip Roth (care a sentimental vulgarity that surrounds sex, love, decrepitude of the disease) but bathed in the mystical name as the author. Here a test:

No oracles for love. No omens. There are no sacred words. Love happens, like the sea or meteors. Love is a stellar phenomenon, love is a puñada in the back, love is .

and dig deeper still into this idea:

So lovers jump from the bridges of ships, from the rooftops of abandoned Macel, from the gargoyles of old cathedrals bombed without pity or innocence. Do not kill dissatisfaction. Are killed surfeit of enthusiasm. Their bodies are bodies mined with joy. Her ecstasy is the genius, that of you crazy, that of the Abnormal.

There are errors, of course, but none is decisive. The character Alphonse is two dimensional, only the fringes service narrative and uninteresting, and the voice of Semiasin is too similar to that of Bocanegra / RMMS in meditation and is less vivid character in the story by far. However, there is something Shakespearean monologue in this small Russian painter, is therefore greatness

False is a heavy word, Alphonse - disagrees Semiasin- Anything I can remember that day, any details you can bring to light some scented keep quiemra, because in reality, there is something chimerical in a painter, however great which may come to be shared, even for half an hour, the same space that a person like Stalin. Imagine Michelangelo to Julius II. Imagine Velázquez to King World. Imagine aa Rigaud to Louis XIV. What are they? Nothing, a breath of air, a lump of vanity, beauty irrelevant to men whose will change borders, turn off lives, ancestral debts cords. So the three views that Stalin gave reporters some truth, just as it is possible that some of today I am telling you is not the whole truth. Of course who do care about a case as bad as the truth?

also very funny epilogue, which reveals a decidedly narcissistic imagination (Bocanegra has received the Nobel Prize and his first wife and daughter looked at him with admiration rendered; also assures us that have written great works, including The light is ancient love, this book began in 2008), but it serves to deliver a beautiful speech and take the higher ground autofiction own JM Coetzee (Elizabeth Costello or Diary of a Bad Year take two examples), relating to articulate perfect Autofiction which combine personal speeches slightly autobiographical interesting variations with no little skill. Coetzee is not close in terms of quality or of courage on this issue because South Africa is an author with a more problematic and interesting literary incarnations, but the sense of closure meets bride and confirms the remarkable virtues of this strange book, Lucky, a sweeping talent and intelligence.

The beauty is known flag, beauty is not publicly traded, beauty is not a fuel or a raw material. Its mystery is its futility, to be a road from nowhere and leads nowhere. But then, I humbly ask what good the Perugino Crucifixion of Santa Maria Maddalena dei Pazzi, which I imagine is still there, thirty-five years after my view, nearly five and a half centuries after it was conceived [...]

And humbly reply that as literature, as every word I've written throughout my life, Perugino's Crucifixion of Santa Maria Maddalena dei Pazzi serves to comfort, to get rid of the affliction of a world in which human dignity is crucified every single day

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Yes or No

Isabel Poveda take the social drama, the most effective, we assume and take it out of context with Yes or No (2011), the kind of masterpiece takes to be (I have taken three times to understand his secret) and understood in its magnitude, filled with a laugh, a nervous and really wonderful, a debt that can not support the reference could be their closer, Todd Solondz one that is what should interest us here and now that leaves us laughing hysterically, knowing that we have seen something terrible, something that perhaps only a triumph style, but style often.

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can buy the book and Laie Fnac. Here I am interviewed by Iker Seisdedos in Country Weekly here and Miguel Luna for Public . Care could not look better, no interviews more perfect. Joan S. Luna has reviewed the book positively. Here have another review, this time of Mgz Underbraing. On 25 present the book by Thomas Pynchon : a writer with no holes in FNAC plaza catalunya. At 7 pm. Come say hello.

more reviews are emerging: a written by Jordi Puntí, published in the Journal, and other comments by Jordi Costa, this time for the newspaper Avui. Impossible to ask for more.

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Hollywoodland

Warren Beatty called Biskind his Trotsky in hyperbole that defines the perfect wet dream portrayed in this book.: Americans who believed they could dominate the world by being an invincible Nouvelle Vague , a European with the best of both worlds. Bikers Calm, Wild Bulls is essentially a book of gossip sometimes Guided for the thesis and as such provides another vertigo than a great compendium of anecdotes from a fleeting world that ends almost at the beginning, but also the great decade of American cinema with the permission of the fifties. Biskind flirts with cultural criticism or film criticism, primarily political reading of each film and event and that is where the thesis work. In other paragraphs, is so busy to ensure the reader a Hollywood made of broken dreams, failures grand sink careers, sex and drugs, immature children Guided by strong women in a false sexual revolution, that one checks every twist and predictable. But power makes something attractive and necessary, why this book is a Hollywood Trotsky, a pedantic writer rumors, a great and entertaining perversion of some facts.

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games.

Suzanne Collins, The Hunger Games vol. 1. Ed Scholastic.

wrote Jordi Costa the hidden track after the great and now classic teen comedy Rumors and Lies, in my opinion, an incredibly underrated movie with a dialogue magnificent and endless, was "the celebrity culture understood as a culture of shame." There's no better way to discuss the issue of Hunger Games, the stupendous and sold new youth fashion series (almost) written by Suzanne Collins.

Away from the high camp of Stephenie Meyer and machinery of the politically correct overvalued JK Rowling, Collins has written this novel with a strong inspiration, media, says the images of the future were suggested zapping him in a while in the United States was the images of the Katrina disaster or the war in Iraq. It may seem pedantic or a shrewd move advertising, but it is not absurd to think so if we see some direct nutrition science fiction takes this and makes it awkward question. In any case, Hunger Games contains a vast universe to discover and a sport and a passionate romance, but here the similarities end with the predecessors, we are facing the most subversive and groundbreaking release of juvenile science fiction novel.

Set in a post-apocalyptic world where the United States have been consolidated and expanded under the name of Panem, the novel shows us the Hunger Games, a little less than a gladiatorial show televised (and prime) to Big on the participants must kill each other until a champion. But an unlikely romance shake the foundations of the competition and the love story between Peeta Katniss and change the rules of the contest to the delight of the audience. But of course, this change will be volatile and subject to the fascination (temporary) public as a sign of extreme sentimentality (the love between the young stems from the previous generations of the young Peeta Katniss during apocalyptic times) to final step to a more diveritdo and sadistic.

romance combining high doses of chemically pure sadism teen the style of The Running Man by Richard Bachman (or The Long Walk), this Battle Royale was to save me has quite a few things to say about our present, that love is an entertaining if we decide the final catastrophe. That is, the sentimentality, and every form of sensationalism, the rhetoric is right for the show continue and the apocalypse work.

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The third album Els Friends of the Arts is a generational event. Or a portrait. Or something. Failed love stories loads Pring, urban arrogance (from evoking the cult bestseller until summer love emerged the French cinema in Barcelona) and other contemporary feeling that. Their most intimate is perhaps the most epic. Per entitled mars i Muntanyes , is a wonderful and sarcastic look at youth that is: children who dream of the world interpetar children codes of manga / anime Dragon Ball and make it a flag of a nostalgic lost world. That of children, of course, leads us directly to the comic Scott Pilgrim by Bryan Lee O'Malley and the possibility (ridiculous, tender) to conceive the world as a two-dimensional arcade game. Immaturity is not nothing but a stodgy children, recovered.

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year or unordered lists and carefree some of the best of 2010


This year I read a lot more to review, good sign. I talked about my reading annual Pig Brother in with some delay. But there are some novels I have enjoyed chronicling, as Cromm Alba, which I consider the best of the year in English literature, although I have enjoyed other books. Are also impressive The light is ancient love Menendez Salmon error of Aira Coetzee Summertime or the last of Grossman. My favorite novel is, however, Freedom Jonathan Franzen, as paradoxical as great.

But there were more things, of course. enjoyed of Dead Jorge Carrión, but the more difficult books ( The skin of the Boca ; travel Chronicle) I think their undisputed peaks. I have interest, however, in its renewed (and pigliana time) conditional commitment to literature through some flirting generic and look forward orphans, second edition dated 2012 or 2013 or so. I recommend The Thief of Morphine Mario Cuenca Sandoval, a good appropriation of Denis Johnson, but I'm not sure how much there is authorial. I glossed and hits Journal species Apablaza Claudia and I always happy to recommend novels like Music channels, a post-adolescent tale prose downright irresistible.

**

My favorite albums The Suburbs are probably of Arcade Fire, it seems irresistible and pompous and ambitious work as viajazo through the sounds / the rock bound in this group, the High Violet of The National, the glorious Plastic Beach Gorillaz and almost above all, the My Beautiful Dark Fantasy Twisted Kanye West, shows bombastic hip-hop jewelry including pieces like Lost in the World or a song in homage to Michael Jackson who tells her death in subjective key that includes all the virtues of the rapper. Noel Ceballos wrote gladly on West. Els disk Friends of Les Arts, Bed & Breakfast is one of the funniest and most obvious sharp generational find in the pop Catalan.

2010 in songs: Spotify A list of my favorites of the year.

**

Social Network Fincher, Kiarostami's Certified Copy, A Serious of Film Coen and Godard are Socialisme probably the four films that have impressed me more this year. Both Joseph Tron Kosinski misinterpreted as Iron Man 2 Jon Favreau I find excellent examples of a potential blockbuster, whose intelligence is beating faster than the dizzying hype machine that forces the viewer's limits and serves little unsavory the unusual details of these films. Also the remake of Karate Kid is agradablísimo and surprising, but the best movie / blockbuster was Toy Story 3, perfect ending to a trilogy that defined the genius of Pixar and has discovered quite a few and amazing talents.

I was very pleased with Source , but quickly corrected myself : Nolan is a great director and the film works more as a concept (a heist film in a dream) than as a metaphysical inquiry. Seemed almost unbearable the silly Kick-Ass by Matthew Vaughn and absolutely magnificent festive and cathartic Scott Pilgrim vs. the World Edgar Wright whose shared write review shortly.