Acting-Out Politics

Weblog opens discussion about the psychology of Bushmerican style of behavior.

Giovanni Angelo del Maino, “Saint John The Evangelist” (1520-30), Lime wood, ht. 143cm.

Whom we’re seeing in front of us is a person right from the 16th century, stretching out his hand as if asking for a handout. His facial expression supports the meaning of his extended arm and open palm – it’s an appeal to people for help.

But this person before us is not a beggar or at least not of the usual kind. He is asking people for something much worthier than money – he is asking folks to find in themselves the desire to receive – to be baptized into the sacred reality.

As the ritual of baptism is an introduction to the world of Gospels, to writings and popularization of the Gospels, the offering of the sacred message is in essence a ritual of initiation of human soul into sacred text.

The beggar – Saint John the Evangelist is inviting/asking people to be converted into Christian belief. He is showing his dedication to open to them a new life, and putting out his right hand with which he wrote the Gospel he is as if offering to the people his hand and palm to help them to become different than what they are – living (to use terms of today’s worldview) to rival, compete, “survive” and succeed, to win and be rewarded by consumption and entertainment.

Saint John the Evangelist is begging people to allow him to help them to become different human beings who’ll live spiritually – for a moral purpose in life – caring for others and for disinterested meaning of life instead of trying to dominate other people and nations and transform people into tools and objects of power and wealth.

John the Evangelist didn’t know yet that in the 21st century wealth and power will be named as the very instruments of humanism and that people will be happy to readily serve the masters of power and wealth because they will be rewarded by their masters with crumbs of the same power and wealth.

In the beginning of the 16th century Giovanni Angelo del Maino (1470-1536) through his sculpture is begging us to become independent from and indifferent to the seductive might of power and wealth – as the only way to prevent fight amongst people and wars and destruction of life on earth.

Independence from and indifference to the most pathological obsession of human nature with appropriation of power and wealth without limits (and using them against others) is the ultimate meaning and the message of the ritual of baptism and the sacred narrations of the Gospels.

Giovanni Angelo del Maino, “Saint John The Evangelist” (1520-30), Lime wood, ht. 143cm.

To Love the Feeling Of Being In Love Or To Love Another Person

When Audrey Klebaner met Jeremia Lippmann for the audition for the roles of Eglantine and Perceval for the future film by Edgar (Bruno Pudzulu) – a gifted and independently thinking young man trying out himself as a film director – all as a part of Godard’s film, she perceived her love for Perceval as serious, as if it happens in life (may be, even more serious). Audrey’s exceptional sensitivity towards her role – towards the love she was supposedly to impersonate, becomes an artistic model for the type of love that can take place in real life.

Eglantine perceives love as an exceptionally valuable feeling, as a spiritual challenge for everyone who meets love in their life, as an enormous responsibility and an overwhelming happiness, which should not be profaned and wasted. She, if it’s possible to say, is a real “knight” of love, an alchemist of loving, a dedicated amorous nurse of her beloved. She calculates, as if, with a mathematical exactitude, how to amorously care for her Perceval.

Eglantine (Audrey Klebaner) loves not only internal world of Perceval (Jeremia Lippman marginalized and “dwarfed” in the shots and in the reality of the film’s events), but his very reactions on the world – his very attention to the world. She loves his gestures, body, feelings, thoughts, interests, and she loves his very existence in the world. Her love loves him almost too much, if such a thing is possible at all. And if super-love is, indeed, possible, it’s Eglantine who can be achiever of such exceptional love. May be, she is exactly this unique person who can prove – who, indeed, proves in Godard’s film that it’s possible.

Eglantine/Perceval episodes occupy the minimum of screen time. Is it enough space in a film with multiple mini-narratives for elaboration of such difficult topic?

Person like Godard who as a film director combines several professions on a high competence level expects from us the viewers to concentrate on the images and issues as quickly and intensely as he does himself.

Eglantine is exhausted with the reality of Perceval. It’s much easier to love without loving, to love frivolously, temporarily, ephemerally. But, may be, what happens with love of frivolous fascination can sometimes be more stable and even more real than “serious” love including scrupulous, heavy, methodical efforts of trained loyalty? May be, human love itself doesn’t mean to be too unique and profound? May be, we are not supposed to mix love and beloved – to project our love on another person? May be, loving and beloved are categories which too easily can be in “rivalrous” relations with one another? And then too tremendous love can a kind of – compete with the person we love.

Can it be that too strong and too profound love have aversive influence on the beloved? That real love was meant to be somewhere between heaven and earth, between zero of emotional investment and maximal emotional investment, even – between indifference and “care to the core”. May be, it is true about everything connected with human matters. We, like everything, are the fruit of approximate Creation, which includes cruelty and violence of life against itself. It’s, as though we weren’t meant to be perfect.

Eglantine/Audrey pronounces “the moment of youth” as “the moment of truth”. But what can be the moment of truth/youth? Can the truth of love as a youthful truth and, therefore, as the one perceived with over-passionate attention, pseudo-rationally “processed” and grasped, and intellectually controlled be successful? It’s not by chance that while pronouncing “the moment of youth/truth” Eglantine closes her eyes, as if, to keep the truth of love to herself – finalizing what she knows about love in front of herself, as if, the very “mechanism” of love came to be for her something that is part of her and, therefore, completely monitored. Poor Perceval. Poor Eglantine. Sublimation (intensification through sublimation) has reasonable limits or if it becomes fetishized it produces fetishes which are prone to dominate and manipulate our beloveds as much as ourselves.

Posted on Dec 19 2014 – Jean Luc Godard’s “Eloge de Amour/In Praise of Love/Eulogy to Love” (2001) – Godard’s Introduction To The New Century (Spiritually Intellectual Souls Amidst A Growing Social Anomie And Cultural Degradation) by Acting-Out Politics

Posted on Feb 8 2015 – In Praise of Love/Éloge de l’amour (2001) By Jean-Luc Godard by Acting-Out Politics

One More Example Of A Puzzling Surrealistic Images By Which Film Directors Characterize The Events In The Characters’ Internal World

An unexpected gift for Philippe – the son of a dying woman is like a refreshing pill helping him to consume the world and continue to exist for the sake of existing. He likes only those impressions from life which help him support his spirit. But on this day after he visited his mother at the hospital and learned from the doctor about her sudden terminal illness and that she will not live for much longer, indeed, has very short time left, Philippe’s task of neutralizing the negative impressions from the world became much more difficult. The habitual injections of sexual satisfaction with which he supported his sexually happy marriage weren’t effective. Sex was good as always, but silent burden on his chest didn’t go away.

Philippe continues to stay in bed although it’s time to get up, but something made him inert. The composition of the shot includes double representation of the reality – the real space of the bedroom and the reflection of bed in the big mirror help the director to create confusion in the perception of what’s going on with personage of his film and the world – in the viewers and Philippe himself. Here, we notice a little “miracle” – while lying on the bed and being reflected in the mirror Philippe, as if, got strange awkward feminine breasts. But the presence of the mirror emphasizes not just the double reality of two worlds – everyday life (Philippe’s habitual abode) and mortality of human life.

Philippe started to feel, as though he himself is dying, that he is doomed to die like his mother. More, death of his mother made him feel that he is part of his mother’s body. He was always the alive part of his mother’s body but now he felt that he is, as if, the dying part her dying/dead body.

Unexpectedly and bizarrely he started to feel that he has feminine breasts in absurd addition to his own. Perhaps, it’s Philippe’s unconscious memory of his mother nurturing him during infancy, but also it can be play of light or some kind of distortion in the glass mirror. But, rather, it’s the effect of several determinants – Philippe’s depressed feeling about himself, connected with his mother’s condition, his unconscious memory of her feeding him and her glorious breasts reaching its end. Sacredness is mortal but its meaning is immortal.

The little miracle in the mirror gives Maurice Pialat the chance to show that to ignore the realities of life, which includes death and not to think about it is not adequate nor rational behavior leading to our greedy ridden obsession with appropriation of power and wealth at all costs – our ultimate psychological defense against our mortality.

Posted on Jan 5, 2013 – Maurice Pialat’s “Mouth Agape/The Slack-Jawed Mug” (1974) – Mouth Agape as a Metaphor of a Conformist (Cognitively Passive) Position in Life by Acting-Out Politics

Posted on Feb 2 2015 – “The Mouth Agape/The Slack-Jawed Mug” (1974) by Maurice Pialat by Acting-Out Politics

The first position is personified by Philippe – the son of the woman afflicted with terminal illness (he is with his back to us). His indifferent posture with hands in his pockets tells us that he thinks he is beyond everything connected with death (not beyond his mother’s dying, of course, but death as an exceptionally important part of human life). In comparison with the doctor and the nurse with whom Philippe is talking to he is unconcerned about death – it’s, as if, he is turned towards death with his back (back of his head). Of course, Pialat doesn’t mean that death is behind Philippe’s back, but that his mind is not attentive to how the doctor and the nurse are serious about death’s work. As if, his face is suddenly covered up with hair so for his eyes not to see what is going in the hospital day and night. The shot shows us Philippe’s position towards death – a mixture of indifference, bravado and philistine predisposition toward anything outside his everyday life with its routines and pleasures. But this kind of position is a psychological defense against death – ignoring death’s active presence in human life, as though death doesn’t exist.

The second position towards death is personified by the physician (in the still before us he is on the left explaining to Philippe the situation with his mother). Pay close attention to the doctor’s eyes. Because of the nature of his job the doctor sees death on a daily basis and his eyes are, as if, petrified by the experience of being a witness of death. What lies behind such petrified gaze? Can it be that human psyche (of the physician) instinctively uses the eyes’ surface as a shield against death? Does instant unconscious panic need to use this shield of petrification against death getting close to us? But it’s not only witnessing death at work that makes the doctor’s eyes so frightening – as though they’re irradiating death – it’s also seeing the relatives of the dying people. When they hear the doctor’s statement about futility of further treatment their eyes often produce the same shielding, which makes the physician’s gaze so difficult to bear. Such reaction of the relatives of the dying patients adds to the doctor’s unconscious defensive reaction reflected in the metallic intensity of his gaze.

The third position in relation to death is personified by the nurse. Her facial expression is the result of seeing those who are doomed to die soon – who desperately need her nursing, her, her support and protection. They need her psychologically motherly help so much that she is not concentrating on death itself but on those who’re its victims/targets/objects. Her face is organized by compassion – unconditional, limitless, permanent, inexhaustible. In this very moment when we’re looking at the still, she is looking at the direction where a patient can be. Her gaze is, as if, permanently looking for those who’re in need of consoling emotional help, solace. The nurse we see here is like a martyr of consolation, as if, benefactor of consoling.

Posted on Jan 5, 2013 – Maurice Pialat’s “Mouth Agape/The Slack-Jawed Mug” (1974) – Mouth Agape as a Metaphor of a Conformist (Cognitively Passive) Position in Life by Acting-Out Politics

Posted on Feb 2 2015 –  “The Mouth Agape/The Slack-Jawed Mug” (1974) by Maurice Pialat  by Acting-Out Politics

Maria Callas (Medea) and Giuseppe Gentile (Jason) in “Medea” by Pier Paolo Pasolini

Jason is very proud to get a princess Medea as a spouse. Besides, it was no easy task to kidnap her from her family and make her an accomplice in this adventure. And now he’s in full possession of this incredible woman. In this shot we see Jason and Medea after their first night together. Right after his first ejaculations/orgasms, still lying on Medea’s body Jason looks towards the viewers, as if, taking people as witnesses of his tremendous success. His face is, as if, saying – you see, how great I am? I literally came, saw her and won her over forever! And now, my disgusting uncle, the king is left with no choice but to give us a lavish wedding and big gifts! That’s how it’s necessary to live! That’s how it’s necessary to win!

Silvana Mangano (Jocasta) and Franco Citti (Oedipus) in “Oedipus Rex” by Pier Paolo Pasolini

After Oedipus’ babyhood which was spoiled by a father’s despotism and moods, and after his long travels and dangers and heroic deeds he met a beautiful woman. He desperately needs success, love, the future. He needs to become a power figure. He wants to be happy – free from the absurd rumors he was trying to run away from. While tenderly touching Jocasta who became his wife, Oedipus looks to the viewers, as if, to persuade us that he deserves his triumph over destiny – he looks for our compassion, for our support. But he doesn’t know that his hope for happiness is the ultimate trap.

Jealousy of Laius and his permanent emotional torture of Jocasta made her to hide from her husband her love for their son, to pretend that she is not loving him, that it is her husband who is the ultimate object of her admiration. And soon Oedipus lost his mother completely. His unconscious fixation on a mother figure, on a woman older than himself is connected with a lack of a mother and her love in his life. Many of us have unconscious feelings from childhood, which can be responsible for our choice of sexual object, or if we are not able to follow the convoluted logic of the unconscious semantic crystallization of our sexual desire we find (again, unconsciously) a compromise choice of an amorous object, like the heroes of Bernardo Bertolucci’s “Dreamers”, where the French brother and sister use their American friend as a substitute object for their incestuous obsession with each other, which they cannot allow themselves to realize.


The very idea to use direct contact between character and the audience (gaze aside) is a resourceful strategy which allow the film-directors to use extra-plot characterization of personages and their internal world. Combined (verbal and gaze asides) came from the theatrical tradition. In US some talk show comedians, for example, Jack Benny, often used gaze-asides (dense look at the audience) without any accompanying remarks.

Posted on Apr, 28 2012 – Pier Paolo Pasolini’s “Edipo Re”/”Oedipus Rex” (1967) – Knowledge without Explanation Is Directed Against Those Who Need Knowledge The Most by Acting-Out Politics

Posted on Aug, 6 2014 – “Oedipus Rex” (1967) By Pier Paolo Pasolini by Acting-Out Politics

Posted on Mar 2 2015 – “Medea” (1969) by Pier Paolo Pasolini by Acting-Out Politics

Posted on Jan 26, 2014 – Pier Paolo Pasolini’s “Medea” (1969) – Medea As An Apocalyptic Muse by Acting-Out Politics

First we will kill the subversives,
then we will kill their collaborators;
then their sympathizers;
later those who remain indifferent.
And finally we will kill the timid.

General Ibérico Saint Jean, governor of the province of Buenos Aires (1976-81)

General Ibérico Saint Jean governor of the province of Buenos Aires
General Ibérico Saint Jean governor of the province of Buenos Aires

Jorge Rafael Videla a senior commander in the Argentine Army and dictator of Argentina from 1976 to 1981
Jorge Rafael Videla a senior commander in the Argentine Army and dictator of Argentina from 1976 to 1981. He said “Many people must die in Argentina so that the country will again be secure”

Argentina’s dictator, Jorge Rafael Videla, dies in prison in 2013
Argentina’s dictator, Jorge Rafael Videla, dies in prison in 2013

The 1976 Argentine coup d’état was a coup that overthrew Isabel Perón as President of Argentina on 24 March 1976. A military junta was installed to replace her; this was headed by General Jorge Rafael Videla, Admiral Emilio Eduardo Massera and Brigadier-General Orlando Ramón Agosti.

Infamous campaign was waged from 1976 by Argentina’s military dictatorship. It is estimated that between 10,000 and 30,000 citizens were killed; many of them were “disappeared”—seized by the authorities and never heard from again.

The junta closed the National Congress, imposed censorship, banned trade unions, and brought state and municipal government under military control. Meanwhile, Videla initiated a campaign against suspected dissidents. Throughout the country the regime set up hundreds of clandestine detention camps, where thousands of people were jailed and persecuted.

Series of “kidnappings and forced disappearances followed by the torture, rape, and murder of a number of young students”. The students were held for months in several illegal detention centers.

Rodolfo Walsh, march 24, 1977, writer and journalist
Rodolfo Walsh, march 24, 1977, writer and journalist

Rodolfo J. Walsh sent an open letter, dated March 24, 1977, by post to the editorial departments of local newspapers and to foreign press correspondents. On March 25, 1977, Walsh was kidnapped by a “Work Group” and has been missing ever since. Once the dictatorship of 1976 began, Work Groups were formed to carry out the extermination of any individuals considered enemies of the state. These groups, composed mainly of men with experience in the military, state security, or the police department, were notorious for kidnapping victims, torturing them, killing them, and leaving no trace of their bodies.

The letter was not published by any local media, but it gradually came to be distributed abroad.

“Censorship of the press, the persecution of intellectuals, the raid on my home in Tigre, the murder of dear friends, and the loss of a daughter are some of the events that compel me to express myself in this clandestine way after having shared my opinion freely as a writer and journalist for nearly thirty years.

Fifteen thousand missing, ten thousand prisoners, four thousand dead, tens of thousands in exile: these are the raw numbers of this terror.

Since the ordinary jails were filled to the brim, the junta created virtual concentration camps in the main garrisons of the country which judges, lawyers, journalists, and international observers, are all forbidden to enter.

More than seven thousand habeas corpus petitions have been denied in the past year. Since the prisoner does not exist, there is no way to present him before the judge within ten days.

The refusal of this Junta to publish the names of the prisoners is, moreover, a cover for the systematic execution of hostages in vacant lots in the early morning, all under the pretext of fabricated combat and imaginary escape attempts.

Over the course of one year, the junta has decreased the real wages of workers by 40 percent, reduced their contribution to the national income by 30 percent, and raised the number of working hours per day to eighteen.

The results of these policies have been devastating. During this first year of the junta’s government, consumption of food has decreased by 40 percent, consumption of clothing by more than 50 percent, and the consumption of medicine is practically at zero among the lower class. There are already regions in Greater Buenos Aires where the infant mortality rate is above 30 percent, a figure which places us on par with Rhodesia, Dahomey, or the Guayanas. The incidence of diseases like Summer Diarrhea, parasitosis, and even rabies has climbed to meet world records and has even surpassed them. As if these were desirable and sought-after goals, junta has reduced the public health budget to less than a third of military spending, shutting down even the free hospitals.

A 722 percent increase in the prices of animal products in 1976 illustrates the scale of a return to oligarchy.”

Argentine writer and journalist Rodolfo Walsh, was kidnapped and has been missing ever since March, 1977
Argentine writer and journalist Rodolfo Walsh, was kidnapped and has been missing ever since March, 1977

Among other mini-narrations in “Dodes’kaden” Kurosawa depicts the existential predicament of a homeless father-son family. The obvious – physical pauperization is only part of this family’s impoverishment, but this “obvious part” is a metaphor of pauperization of the human soul. Our culture forgets about the human (including children’s) existentially spiritual needs. Physical poverty of the father and child in the film signifies the spiritual – “holistic poverty” of our today’s Western societies which are feeding the souls of their children and adults with (artificial) high-tech fodder.

Here, we see father and his child together, when father’s mind-and-heart is occupied with architectural competence of his professionalism – something which his son cannot connect to – so, while listening to his father’s specialized verbal constructions he has to learn to concentrate on them as some kind of phantoms instead of focusing on his own existential needs. It’s like in today’s societies financial elite is concentrating on getting technological power, and the decision-makers require from the whole society to be occupied with high-tech toys (like iPad, Smartphones, video games, etc.), which seduce and entertain the population on the one hand, and manipulate and disable the holistic human mind on the other. In Kurosawa’s film the phantoms of father’s highly professional mind are plans for construction and images of houses of the future (as beautiful as unreachable in their beauty).

Step by step the child became hypnotized by father’s imagination, like today many children and adults while walking along the street are fixated on their cell-phones so completely that they forget to look around at traffic.

The beautiful enigmatic gate to the future (which father’s meticulous imagination invents for his son) became for him an irresistible call to create. And he feels himself a prophet leading his son to a blissful future. Kurosawa is underlining here how technical science in today’s societies functions like powerful prescientific utopia.

How beautiful this gate to the future paradise is! But with growing pauperization of the population today will the future children of immiserating be able to enjoy it?

The job of the little son of our high-tech architect is to find and to bring leftovers from the Tokyo restaurants.

The little boy is quite a successful collector of leftovers – kitchen people rarely refuse a child asking for food

The father “built” a luxurious house of the future not for himself nor for his clients, but for his son. Appreciate not only the humanism of his dedication, but the caring intentionality of his creativity.

Exhausted by the intensity of his creative concentration, the father never asked himself the question – will his son be able to grow up to live in this kind of a house as soon as the actual conditions of his growing up are so disastrous? Do today’s American astrophysicists ask themselves similar questions about the conditions of human life on the earth, while they enjoying their salaries provided by the taxpayers living under austerity regime, not by luminous creatures from another worlds impressed by earthly scientists’ curiosity and daring minds?

After the father ate almost without noticing the food, he, as usual quickly returned to his topics of the houses of the future. But pay attention to the face of his son – his little mind is already kidnapped by his father’s interests. That’s how American technical science students are kidnapped from life by being seduced by the issue of future jobs and salaries and by the beauty of technical science. They are less and less interested in studying humanistic sciences (which are melting away before our eyes).

The child became fascinated, overwhelmed with his father’s imagination, like today’s youth with technical toys and future unlimited prosperity

Father’s architectural scientific phantasy became for the son more beautiful and more real with each day, like the very might of technological artifacts of Western civilization more and more irresistible for the young people who dream to be in charge of robotic power and friendly commanders of robots.

But the father has never thought who, besides his son will live in the houses of future constructed by him. If to ask him he, probably will say something like that everybody will be welcomed.

The little boy became ill not only emotionally – by being burdened by the seriousness and the weight of his father’s imagination, but by food poisoning

Father had an experience of being sick because of stale food, but he, basically an optimistic person, believed that his son will become better. Beside, his son also said in front of people nearby that he will be ok. It’s like some parents believe in the sacred power of guns and cannot imagine that their child can be killed by a fatal casual bullet release.

When the child, precious to the father’s heart, died, the father felt that he must give to his son an exceptional present.

Here, we see the swimming pool which the father has constructed in his imagination to the eternal memory of his dead son. The incredible quantity of private swimming pools as a part of today’s life style seems to have inspired Kurosawa to create this image.

Posted on Sep/4/’14 – “Dodes’kaden” (1970) by Akira Kurosawa by Acting-Out Politics

Posted on May 26, 2012 – Akira Kurosawa’s “Dodes’kaden” (1970) As Anthropological “Map” of Human Psychological Condition (Kurosawa’s Contemplation on the Living Art of Archetypal Crystallization) by Acting-Out Politics

Two dreams (“Communist” and “American”) with one essence – human happiness is a result of unlimited satisfaction of material needs – plentiful and pleasant food, a castle over one’s head, sexual pleasures and leisure(s), our caprices and vain desires, and fight for fame, wealth, power, etc. Soviet communists “respected” despotic commanding authority and weakened and “suspended” the importance of culture, but the American wealthy elite (through their conservative political servants) got rid of (serious) culture completely – they reduced it into mass culture – that of consumption of entertainment, amusement and fun.

The auteur of the “Sweet Movie” Dusan Makavejev as a joyous genius of cinematic thinking represents this common dream of super-prosperity (as over-satisfaction and through this overstimulation of our material needs) through the metaphor of consumption of sweet substances – extra-sugar in the food and alcoholic and non-alcoholic drinks, pleasures, satisfactions, life’s “sweetness”, need for success and sweet foam of fame, possessions and ownerships and extra-wealth and -power over others. In his film Makavejev compares the dreamers of sweet life from East European proletarian branch and the Americans who create and act out such dreams, and shows how these two cultures are different and similar in their structuring human “sweet dreaming” and sweetened reality of human life with similarly destructive results. Soviet ideology of Communist prosperity (made of sweetness) meets American mass culture (made of symmetrical sweetness) on the same sweet battlefield of reciprocal defeat by their common dream.

Anna Planeta (Anna Prucnal), the captain of the timeworn “Karl Marx” ship crawling along Amsterdam’s canals with several tons of sugar and assortments of sweets on board, and a sailor lost in time and space (Pierre Clementi) from “Potemkin” (a ghostlike personification of the ghost of communism) – are both settlers in sugar-dream. The tamed mouse we see on the top of the sailor‘s head is a symbol of human body as an appendix to human dreams (which after being shattered are capable of resurrecting again and again).

An irresistible lover ready for sugar-love

Sexual act inside the sugar (as a proto-drug of happiness) should have the power of archangel wings in their sweet Christmas toy incarnation

As we’ll see soon even perfect – even perfumed orgasm, as our heroes have just experienced, can precede not only the paradisiacal calm but also the insatiable dreaming about an inexhaustible wealth of pleasure

Blend of Coffee and sugar promises repetition of sexual bliss, but sugar as a symbolic substance (mainly ideological, as the most Russians discovered it during the seventy years of Soviet domination over life) or “proudly opened” to mass consumption (like the American super-consumers know so well) is not a reliable benefactor – it keeps knife behind its back.

Strange, morbid curiosity can follow the sugary excesses of sweet life, which can stimulate even more greedy desire for more sweetness. It’s the same with our relation to moneys which only look different from sugar.

After multiple ecstasies (produced by sexual avalanches created by the sugary proto-drug), reactions of the Capitan of the sugar-ship and the revolutionary sailor are like that of typical consumers (dreamers about unlimited consumption) – it is like people’s inert reactions on “global heating” – instead of becoming alerted and cautious, they more and more want one thing – stimulation of a mindless and kind-less exploitative consumption of nature.

Coffee mixed with sugar can, by perverse association in human unconscious, unexpectedly refer to the mixture of sugar and blood. Red army soldiers (consumers of the very idea of communism) and consumers of everyday sweet life feel almost identically without any understanding of what’s going on with them and what will be the price.

Alchemical wisdom of mixtures consumed by the tireless consumers will create new entelechy – new energy of life and death for future super-generations! Bloody sugar or sugary blood will become the main pleasure of deadly life and lively death.

Sugar-lover is transformed into sugar-corpse! The poor ghost of the sailor from Potemkin! Poor European children visiting Anna Planeta’s Marx ship full of sweets! Poor consumers of sugar as proto-drug of consumerist super-indulgence! Poor people who have lost their spiritual nature – who think that it’s possible to live by the despotic and never satisfied material dreams. Their spiritual nature was, of course, already repressed by the traditional religions – they were skillfully made to serve both – secular and religious powers. But today their very “sugary” dream to become one of the privileged and wealthy has transformed them into servile conformists to those who have the power of decision-making, because they… identify with their bosses and leaders and serve them with hate for those who’re as much dissimilar with the creators of propaganda, as with believers in it.

“Communist” dream meets “American” dream in Dusan Makavejev’ extraordinary film, horror film on the one hand and hyperbolic comedy on the other, which people of different countries continue to watch even when they don’t feel that they really understand it.

Posted on July 28, 2012 – Dušan Makavejev’s “Sweet Movie” (1974) ) – Two Corrupted Revolutions – “Socialist” and Mass-cultural, and Their Repercussions by Acting-Out Politics

Posted on July 4, 2014 – “Sweet Movie” (1976) By Dusan Makavejev by Acting-Out Politics

« Previous Entries  Next Page »


December 2017
« Nov    



Recent Comments