5 de febrero de 2016

Camille Orny

Estan vivos: reaganomics del espacio o Debord reloaded

Camille Orny

Estan vivos: reaganomics del espacio o Debord reloaded

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They live (1988)

Carteles publicitarios minimalistas que dicen OBEY, MARRY AND REPRODUCE, NO INDEPENDENT THOUGHT, HONOR APATHY, REWARD INDIFERENCE, etc. Billetes que llevan tan solo GOD. Unos ejecutivos, polis, periodistas o pijos descarnados y arropados en una vestimenta que les cae ancha. Ese es el mundo que descubre John Nada, un sereno buscavidas, poniéndose unas gafas de sol que se dejaron atrás unos weirdos. En un abrir y cerrar de ojos lo tiene claro: hay que librar el mundo de esos alienígenas que lo están pudriendo todo.

Eso pasa en They live (Estan Vivos) de John Carpenter. El film asimila con grande comicidad la teoría crítica de la sociedad del espectáculo a un guión arquetípico de ciencia-ficción con apuntes etnográficos, conspiranoia y citaciones de action movie. Pero ante todo, They live trata una actualidad herviente, una actualidad que pasó a ser histórica: la de la crisis del petróleo del 86, consecuencia de las maniobras de liberalización de Reagan, elegido en el 81 y activo políticamente desde los sesenta. John Nada, físico de caché, greñas, Caterpillars, tejanos y camisa de franela, le dice a la emplada del wellfare de L.A. que trabajaba desde los diez años en Denver pero «things seemed to dry up. They lost fourteen banks in one week. So well…». Ella ni lo mira, «There’s nothing for you here.»

Nada es el héroe que toma conciencia de que el mundo es todo menos perfecto: una élite de extraterrestres con pinta de cadáveres en descomposición ha invadido el mundo en silencio, sin que nadie se entere. Su caballo de Troya es una antena y su tecnología, especial. Les confiere una apariencia humana y difunde órdenes totalitarios de forma subliminal, sometiendo pacíficamente a los humanos. En unos segundos planos, se ven incluso unos esquemas garabateados con tizas de la acción fisiológica de la antena en el cerebro que satirizan la banalidad y el positivismo idiota pero imbatible de la publicidad. El héroe elige unirse a la resistencia subterránea que intenta hackear la antena extraterrestre y cultivar la humanidad.

A las inversiones groseras operadas por la publicidad cuyos be diferent son incitaciones al gregarismo o por los mottos trillados que incitan al sacrificio campechano «be patient and believe in America, things are hard for everyone», Carpenter responde con otra inversión igualmente caricatural: los reaganianos son cuerpos podridos y ser humano es resistir porque «they live, we sleep».  No se olvida del cinismo eighties encarnado en un ejecutivo: «They’re going to let us have it good if we just help ‘em. (…) Now I know you want it- hell, everybody does. (…) What’s the threat, we all sell out everyday

They live se concluye con una distinguida mise-en-abîme: «All the sex and violence on the screen has gone too far for me (…) Filmmakers like George Romero and John Carpenter have to show some restraint.» dice un reportero en descomposición que no se ha enterado de que acaba de ser desenmascarado, live!

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They are alive: space reaganomics or Debord reloaded

Minimalist advertising posters that say OBEY, MARRY AND REPRODUCE, NOT INDEPENDENT THOUGHT, HONOR APATHY, REWARD INDIFFERENCE, etc. Tickets that carry only GOD. Some executives, cops, journalists or pijos emaciated and clothed in a garment that falls wide. That is the world that John Nada discovers, a serene hustler, putting on some sunglasses left behind by weirdos. In the twinkling of an eye it is clear: you have to rid the world of those aliens that are rotting everything.

That happens in John Carpenter’s They Live. The film assimilates with great comicidad the critical theory of the society of the spectacle to an archetypical script of science-fiction with ethnographic notes, conspiranoia and citations of action movie. But above all, They Live deals with the current news, the news that happened to be historical: that of the oil crisis of 86, a consequence of the maneuvers of liberalization Reagan, elected in 1981 and politically active since the sixties. John Nada, Cache Physicist, Greasy, Caterpillars, Texans and Flannel Shirt, tells L.A. who worked from ten years in Denver but «things seemed to dry up. They lost fourteen banks in one week. So well … ». She does not even look at him, «There’s nothing for you here. »

Nothing is the hero who realizes that the world is anything but perfect: elite of aliens with the appearance of decaying corpses have invaded the world in silence, without anyone knowing. Your Trojan horse is an antenna and its technology is special. It gives them a human appearance and spreads totalitarian orders subliminally, subjecting humans peacefully. In a few seconds, you can even see scrawled scraps of the physiological action of the antenna in the brain that satirized banality and idiotic but unbeatable positivism of advertising. The hero chooses to join the underground resistance that attempts to hack the alien antenna and cultivate humanity.

To the gross investments operated by the advertising of which are different incitements to the gregariousness or by the tacit mottos that incite the campechano sacrifice «be patient and believe in America, things are hard for everyone», Carpenter responds with another investment equally caricatural in nature: the reaganianos are rotten bodies and human being is resisting because «they live, we sleep». Do not forget the cynicism the eighties embodied in an executive: «They’re going to let us have it good if we just help ‘em. (…) Now I know you want it, everybody does. (…) What’s the threat, we all sell out every day.»

They live concludes with a distinguished mise-en-abîme: «All the sex and violence on the screen have gone too far for me…» Filmmakers like George Romero and John Carpenter have to show some restraint. In decomposition, you have not heard that you’ve just been unmasked, live!