I love the 80s. I love the look of certain films, the first console Nintendo con grafica cubettosa (io possessore all'epoca di un Amiga invidiavo - quasi sicuramente a torto - chi poteva giocare con Super Mario); quell'atmosfera di insensato edonismo, di culto patinato dell'estetica e spesso anche della forza. Non sempre ero consapevole di queste caratteristiche, di cui devo aver subito un'influenza indiretta attraverso - ad esempio - canzoni che mi entravano nell'orecchio e non ne uscivano più, tipo Jump dei Van Halen. Si tratta, come per molte nostalgie, di un sentimento abbastanza infondato, gli anni '80 hanno prodotto fior di mostruosità (negli Stati Uniti ma non solo, basti pensare all'ascesa dei Socialisti craxiani in Italia) e dunque non dovrebbero essere particolarmente rimpianti.
Tuttavia, striving to be as objective as possible, I must say that artistically I find them much more interesting than the next 90 years let alone the new millennium. Both musically and, especially, film. It must have been the last time - with very few exceptions, like the first Matrix - in which American science fiction has been able to produce truly original and disturbing work: in a handful of films (Terminator, 1984, Robocop, 1987, Predator, 1987 , Blade Runner, 1982 and some others that now escapes me) is concentrated around the great U.S. of the following years. Commingling human-machine, a kind of wildness technological, industrial (in almost all these films there is at least a scene in a steel mill), yet spontaneous and natural; slums (the city where he plays the Terminator are full of white trash and urban squalor, a detail that have managed to keep even in the good TV series The Sarah Connor Chronicles ). Because these films are still so compelling, we are struck with such force? Obviously we feel in some way linked to those images, they are films that have failed to grasp - perhaps not even consciously - a change in place, an invisible quality that makes them feel close to us. Hit us because they speak to us of what we were getting, how the world was influenced our perception of things. A speech that certainly is not confined to science fiction (I assume that the same reasoning could be applied to the great myths of the '80s horror, like Freddy Krueger, and not limited only to the cinema).
why the remake, and followed that filled the cinemas in recent years, from the Terminator to the new remake of Halloween, are destined to fail if they do not like movies (which is still seen in most cases: they tend to be film anonymous or inconsistent), at least as epochal works, able to grasp the mood of a generation: because society has changed, and those that are proposed in these films - in addition, in the case of the remake, as a certified copy of something already shot, and then insincere - moods are already somatization, already lived, already entered in our genes and our children. Beyond the criticism of commercial exploitation, the directors less attentive, beyond short of artistic success - it just works that present myths out of time. Probably the new fixed points of the American science fiction film Avatar will be Cameron and Neil Blomkamp's District 9, is no coincidence that both works speak of misunderstandings between cultures, people obamianamente "mestizos" and multiculturalism, which is what apparently made these years at the end decade.
PS What was, now that I think the last horror comparable impact at that time had films like Nightmare on Elm Street or Friday the 13th? Perhaps the series of Saw, which, though rather mediocre artistically created and influenced many imitators, with its metallic appearance and filthy, many other films. It is certainly not good news to know that today we feel so familiar with the concept of torture (which is behind the whole saga).
Tuttavia, striving to be as objective as possible, I must say that artistically I find them much more interesting than the next 90 years let alone the new millennium. Both musically and, especially, film. It must have been the last time - with very few exceptions, like the first Matrix - in which American science fiction has been able to produce truly original and disturbing work: in a handful of films (Terminator, 1984, Robocop, 1987, Predator, 1987 , Blade Runner, 1982 and some others that now escapes me) is concentrated around the great U.S. of the following years. Commingling human-machine, a kind of wildness technological, industrial (in almost all these films there is at least a scene in a steel mill), yet spontaneous and natural; slums (the city where he plays the Terminator are full of white trash and urban squalor, a detail that have managed to keep even in the good TV series The Sarah Connor Chronicles ). Because these films are still so compelling, we are struck with such force? Obviously we feel in some way linked to those images, they are films that have failed to grasp - perhaps not even consciously - a change in place, an invisible quality that makes them feel close to us. Hit us because they speak to us of what we were getting, how the world was influenced our perception of things. A speech that certainly is not confined to science fiction (I assume that the same reasoning could be applied to the great myths of the '80s horror, like Freddy Krueger, and not limited only to the cinema).
why the remake, and followed that filled the cinemas in recent years, from the Terminator to the new remake of Halloween, are destined to fail if they do not like movies (which is still seen in most cases: they tend to be film anonymous or inconsistent), at least as epochal works, able to grasp the mood of a generation: because society has changed, and those that are proposed in these films - in addition, in the case of the remake, as a certified copy of something already shot, and then insincere - moods are already somatization, already lived, already entered in our genes and our children. Beyond the criticism of commercial exploitation, the directors less attentive, beyond short of artistic success - it just works that present myths out of time. Probably the new fixed points of the American science fiction film Avatar will be Cameron and Neil Blomkamp's District 9, is no coincidence that both works speak of misunderstandings between cultures, people obamianamente "mestizos" and multiculturalism, which is what apparently made these years at the end decade.
PS What was, now that I think the last horror comparable impact at that time had films like Nightmare on Elm Street or Friday the 13th? Perhaps the series of Saw, which, though rather mediocre artistically created and influenced many imitators, with its metallic appearance and filthy, many other films. It is certainly not good news to know that today we feel so familiar with the concept of torture (which is behind the whole saga).
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