Gerhard Wissner, D | ||||||
Fiction is reality and reality is fiction (perhaps) |
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Hollywood is the biggest illusion-factory in the world. Constantly
searching for the new, for the absolute audience-thrill and of
course the box-office hit, no matter which themes or technological
phantasies might cross the producers minds, everything will be
picked up immediately. Film scripts seem to be conveyor-belt products.
The apparently ?best are labelled with audience-attractive actors
(the ultimate key for commercial success), transformed into more
or less successful blockbusters and then, scattered in thousands
of copies all over the globe. These generally home-spun fictions
rule the phantasies of millions of viewers around the whole world.
Finding a driving force in the ?traditional media, which, despite
their usually immense financial efforts make very good use of
them. Since the gigantic culture-industry-machine Hollywood cant
be examined in all its facettes, Werkleitz Biennale will draw
attention to at least a limited part. For some years the new communication
technologies and especially the internet have become a world-wide
subject per se most certainly for Hollywood, too. In his lecture:
?Youve just been erased! the Berlin journalist Tilman Baumgärtel
will give virtuality and immateriality of Hollywood-feature films
a close look. His lecture will discuss the question how the invisible
becomes visible. He has made use of numerous examples of Hollywood
productions, like ?Copykill and ?Ghost in the Machine. Subsequent
to the lecture ?Eraser, as an outstanding example, will be shown
in full length. Arnold Schwarzenegger is the prime example of
the classical fictional-action-hero. In the science-fiction classic
?Terminator, Schwarzenegger plays a man-machine from future,
acting in our present time. In many other films Schwarzenegger
impressively verifies that simulation and manipulation are inextricably
linked with our real world and its effects on our body. Quoting
Georg Seeßlen: ?On the one hand Schwarzenegger films are (usually)
films about the relationship between body and society, but on
the other hand and thats why they always had to be much cleverer
than their critics they are films about the forged images of
the world or even, like in ?The Last Action Hero, about the
world of forged images. Videos included in the program block ?Realfiction in contrast to the above described Hollywood films do not follow the pattern of beeing attractive to the spectator. First of all, their statements and contents are directly based in our reality. From here they tie to the future in various ways. In ?Blight, a deeply emotional figment emerges from the (de)construction of our past and memory, about the collective loss on the one hand and the alarming vision of possible consequences of this deconstruction on the other. The authors of ?A-clip direct their look straight towards our city reality. Exclusion and gentrification are only some of the issues, analyzed regarding their effects on the future and examined for their possible consequences. The particularly remarkable fact of ?A-clip is, that the producers have found new directions for distribution and communication. The ?A-clips appear unexpectedly (in a 35mm version) in the commercial breaks in cinema, accompanied by Marlboro-men and catchy advertisement beauties, creating by their different aesthetic qualities and messages moments of irritation and reflection before we, comfortably seated, dig into our popcorn again. Thinking ahead, following it through its logical consequences, this idea of peeping through commercial breaks, could become a subversive strategy, interesting for television broadcasting companies. It should be possible after all, to acquire time in commercial television, especially from private TV-stations, in hours of low viewing figures, with little financial effort, in order to accordingly use these sources of friction. In other countries Stefaan Decostere for example succeeded to go similar subversive ways, during TV-primetime. ?Travelogue 5: Déjà-Vu had its premiere on Belgian television. In the very first minutes, Decostere bombards the viewer with the ?superzapping of ?real images, whose effects on eye and head can only be thwarted, by either changing the programm or turning the TV off completely. Once the physical strain has been overcome, the viewer lands in tomorrows incredible world. Taking Japan as an example, Decostere expounds, that in this new world the simulation of reality is fostered in theme-parks: time, space, nature and even the weather can be controlled. Here, fiction becomes reality and reality becomes fiction. |