Originally Posted by Federico:
Nu sunt de acord cu absolut nimic din ce zici dar ma intrigi. Vrei sa ne mai uitam o data pe textul ala si sa-mi aduci (altundeva si altadata) exemple (solide privitoare la pilonii tezei nu niste noduri in papura) de:
- figuri de stil (ridicol de irelevante, de preferinta)
- fraza sofisticate
- fraze de logica indoielnica
- fraze sofisticate de logica indoielnica
... si cu cu ce altceva mai doresti sa completezi. Ce zici? Will you shepherd me out of the valley of darkness?  |
<<<Refn is triggering our excitation for film just as he’s wryly interrogating it. The Driver’s power – and madness – is the same pathological aestheticism of Refn and the whole film, held up as a mirror to us.
The key turning point of Drive is the pawn shop heist, as it’s here when the film seems to have chosen what it’s going to become. The sound is sucked out of the picture, save for the ticking of the Driver’s watch, which now sounds remarkably like a motion picture projector: the fairy tale is urgently coming to cinematic life, and Refn amplifies the volume of the gunshots that kill Standard (I don’t remember when I heard film gunshots so loud). It’s a break with time and reality, which is what only cinema can do, and bathed in blood we are taken to a new reality.
During the Drive opening, we are with the Driver in his inconspicuous getaway vehicle, fleeing the police as two thieves sit like spectators – doubling for us – in the backseat. Driver doesn’t turn down his radio to concentrate; rather, he turns it up as a basketball game is in progress. The commentator announces, “The fans are loving it and are on their feet!” And Refn is right - we are on our feet during this invigorating prologue.
The Driver is lost in his own collective fantasies of filmic history and iconography, but given the way he draws it out for us (remember his self-penciled map), he is a creative participant in his delusions, which is what makes him so attractive.
This reflects both what Refn wishes to do and what the Driver, a cinematic framer and filmmaker in his own head, is doing. The strange music is part of the dialectic with viewer, and instrumental to the character’s transcendence – and a pathological need to dominate. "Nightcall," played against the pink neon cursive credit fonts, is so bizarre for us, that this opening successfully serves as entryway into a new world.>>>
ok. atunci poate traduci tu sensul unuia dintre pasajele astea, oricare, macar unul, pe care le-ai dat de exemplu aici mai sus. poti extrage vreun concept, clarifica vreo idee, care sa fie despre film, pe care cinefilul nu e capabil sa le distinga de unul singur, iar acest ilustru critic i le dezvaluie?
pentru mine sunt vorbe goale care suna din coada.
uite, sa incerc sa traduc un fragment:
"Refn ne declanseaza excitaţia pentru film pe masura ce o interoghează ironic. Puterea filmului Drive - si nebunia - consta in acelaşi estetism patologic a lui Refn cat şi a întregului film, tinut ca o oglindă in fata noastra."
fedie, lumineaza-ma, ce vrea sa spuna nenea asta cu aceste doua fraze?
sunt atat de abstracte ca le poti trambita in legatura cu orice autor si orice film.