Anál-isis callejero
ANÁL-ISIS CALLEJERO / STREET ANAL-YSIS
documental experimental / diciembre 2012
HD color / 9 min. / estéreo
idioma: español (con subtítulos en inglés)
SINOPSIS / SYNOPSIS
Dos lugares diferentes:
Valparaíso y Aysén, distanciados por sólo un año. El valor de la
rebelión. Deconstrucción del filmar la violencia sea policial o
ciudadana. Textos más imágenes, reciclaje. Yo contra el otro.
Two
different locations: Valparaíso and Aysén, spaced by only a year. The
value of the rebellion. Deconstruction of filming violence even if it is
made by police or citizen. Texts plus images, recycling. Me against the
other.
NOTA DE INTENCIÓN / STATEMENT
2012 fue un año movido, al
igual o más que 2011. Las protestas surgían en todo Chile por diversas
razones. Finalmente el silencio autocensurado de la gente empezaba a
romperse, finalmente sacaban la voz. Cuando el director Guarisapo volvió
de Aysén con el material que había realizado de las protestas allá, me
compartió parte del material y a través de la usual mezcla de
referentes, archivos y sonidos, compuse otra obra sobre protestas.
Aunque buscando que fuera mucho más sugerente que otras de ese tipo. Por
lo tanto, regrabé mis cintas DV de las protestas del 21 de mayo de 2011
en Valparaíso a través de un televisor, para así obtener otras
texturas, mezclándolas con los archivos de protestas de Aysén,
utilizando diversas citas de escritores chilenos y extranjeros,
utilizando el rojo para los textos en pantalla y una serie de sonidos
que no dejarían a nadie indiferente, con la finalidad de poder generar
un corpus que fuera generando la idea de un nuevo momento en la historia
de Chile.
2012
was a year very moved, the same or more than 2011. The protests arose
throughout Chile for various reasons. Finally the self-censored silence
of the people began to break, finally they got the word out. When the
director Guarisapo returned from Aysén with the material he had made of
the protests there, he shared part of the material and through the usual
mixture of referents, files and sounds, I composed another work about
protests. Although looking for it to be much more suggestive than others
of that type. Therefore, I re-recorded my DV tapes of the protests on
May 21, 2011 in Valparaíso through a television, in order to obtain
other textures, mixing them with the protests archives of Aysén, using
different quotes of Chilean and foreign writers, using the red for the
texts on screen and a series of sounds that would not leave anyone
indifferent, in order to generate a corpus that was generating the idea
of a new moment in the history of Chile.
FICHA
Dirección, Guión, Sonido, Montaje, Producción: Pablo Molina Guerrero
Asistente de Dirección: Mario González Contreras
Dirección de Fotografía: Pablo Molina Guerrero / Guarisapo
Archivos: Un 21 de mayo
particular (2011, Pablo Molina Guerrero) / Con legítima razón (2012,
Guarisapo) / Freesound.org / Alguna película pornográfica
Citas textuales: Friedrich Nietzsche / Albert Camus / José Domingo Gómez Rojas / Manuel Rojas / José Santos González Vera
Música: Symphony No. 5 in E minor, Op. 64 - Pyotr Ilyich Tchaikovsky
CRITICS
"In Anál-isis Callejero
(Street Anal-ysis), Chilean filmmaker Pablo Molina Guerrero’s nine
minute meditation on political violence, we see a complex montage of
footage from clashes between police and demonstrators in Valparaiso and
Aysén. The digital video is deliberately mixed with all manner of
glitches and editing artifacts, and is continually disrupted by freeze
frames. The soundtrack mixes sync sound from the protests with audio
from a porn film, a mother giving birth, and syrupy Tchaikovsky music.
The footage is annotated by superimposed titles in red type, quotes from
a variety of Chilean writers on political ethics. In one quote, Manuel
Rojas refers to a man who claims he “doesn’t have enough moral
discipline” to deserve the title of “anarchist.”
There
is a lot of violence in the footage: police spray the crowds with
water, and lob tear gas canisters. The protesters get their butts
kicked, which might give one clue to the film’s title. The protesters,
too, can be seen occasionally throwing rocks at the police. Fires burn
in the road.
The
film contrasts the footage from Aysén in 2012, in which widespread
violence caused many injuries, and the 2015 protests in Valparaiso in
which the demonstrators remained relatively peaceful. When activists
turn to violence, do they lack the proper “moral discipline?” They will
certainly be portrayed that way in the media. Is footage of political
violence merely political porn, inflaming passions of rebellion or
scorn, depending on the politics of the viewer?
The
video ends with a shot of two demonstrators, a man and a woman, looking
tenderly at each other. Both wear gas masks. We hear the sound of a
baby crying. The word “paranoia” flashes on the screen. Earlier, poet
José Santos González Vera is quoted as saying that the most beautiful
landscape is “my friend.” An environment of armed rebellion is rife with
creative potential, as well as being a perfect breeding ground for
mistrust. Guerrero’s “anal-ysis” tears apart multiple strands tangled
within the questions of violence as a tactic, without preaching facile
conclusions."
EXHIBICIONES