{"id":2454,"date":"2022-11-14T22:03:05","date_gmt":"2022-11-14T21:03:05","guid":{"rendered":"https:\/\/ctalker.org\/?p=2454"},"modified":"2022-11-14T22:03:07","modified_gmt":"2022-11-14T21:03:07","slug":"kurbli-filmklub-terry-gilliam-brazil","status":"publish","type":"post","link":"https:\/\/ctalker.org\/en\/2022\/11\/14\/kurbli-filmklub-terry-gilliam-brazil\/","title":{"rendered":"Kurbli Filmklub: Terry Gilliam-Brazil"},"content":{"rendered":"\n

Szabadka\/2022.11.08.<\/p>\n\n\n\n

Terry Gilliam: Brazil, 1985, angol sci-fi, 132 perc.<\/p>\n\n\n\n

Tipp: olvas\u00e1shoz hallgass\u00e1tok a film zen\u00e9j\u00e9t<\/a> (<—katt)<\/p>\n\n\n\n

Valahol a 20. sz\u00e1zadban\u00a0<\/strong><\/h1>\n\n\n\n

\u2013 ezzel a ki\u00edr\u00e1ssal kezd Terry Gilliam kultuszfilmje. <\/p>\n\n\n\n

A Brazil <\/strong>nem a j\u00f6v\u0151ben j\u00e1tsz\u00f3dik, a film arr\u00f3l sz\u00f3l, ahogyan most \u00e9l\u00fcnk.<\/em>\u2013 figyelmeztet a Monty Pythonb\u00f3l ismert rendez\u0151.<\/p>\n\n\n\n

Az 1984-ben rendezett film, Orwell reg\u00e9ny\u00e9nek kor\u00e1t aktualiz\u00e1l\u00f3, kafkai r\u00e9m\u00e1lom, diszt\u00f3pikus t\u00e1rsadalmi groteszk szat\u00edra. N\u00e9mileg romantikus sz\u00ednezet\u0171, paranoia mozi. A st\u00edlust Jean-Pierre Jeunet \u00e9s Marc Caro \u201eretro-futurizmusnak\u201d nevezt\u00e9k el.<\/p>\n

A filmc\u00edm a f\u0151c\u00edmdalb\u00f3l ered. Ary Barroso\u00a0Aquarela do Brasil<\/i>\u00a0c\u00edm\u0171 sz\u00e1m\u00e1t anno az angolok egyszer\u0171en\u00a0Brazil<\/b><\/i>\u00a0n\u00e9ven ismert\u00e9k. A b\u00fcrokrata g\u00e9pezetben hib\u00e1t okoz\u00f3 rovar Tom Stoppard forgat\u00f3k\u00f6nyv\u00edr\u00f3 \u00f6tlete, m\u00edg a filmben elhelyezett \u201epropaganda szlogenek a Harvey Lime-ot is alak\u00edt\u00f3 Charles McKeown forgat\u00f3k\u00f6nyv\u00edr\u00f3nak k\u00f6sz\u00f6nhet\u0151ek.\u201d Roger Pratt operat\u0151r pedig a v\u00e9gletekig k\u00e9pes kitolni a \u201evizualit\u00e1s var\u00e1zs\u00e1nak hat\u00e1rait\u201d. (OSHE) A\u00a0Brazil<\/b><\/i>ban jellegzetes d\u00f6nt\u00f6tt kamera\u00e1ll\u00e1sokat Gilliam nagyl\u00e1t\u00f3sz\u00f6g\u0171 optik\u00e1kkal vette fel. A 14 mm-es Zeiss \u00e9s a 11 mm-es \u00e9s 9,8 mm-es Kinoptik, r\u00f6vid gy\u00fajt\u00f3t\u00e1vols\u00e1g\u00fa \u2013 halszemoptika hat\u00e1s\u00fa \u2013 lencs\u00e9k a leg\u00fajabb technol\u00f3giai \u00faj\u00edt\u00e1sok voltak. A 14 mm-es objekt\u00edv pedig\u00a0The Gilliam\u00a0<\/i>n\u00e9ven v\u00e1lt ismertt\u00e9 a filmesek k\u00f6r\u00e9ben.<\/p>\n

\u00a0<\/p>\n\n\n\n

\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n<\/figure>\n\n\n\n

A\u00a0Brazil<\/b><\/i>ban a sz\u00ednpadi imagin\u00e1ci\u00f3 mellett az \u201eill\u00fazi\u00f3 helyeire\u201d intertextu\u00e1lis utal\u00e1sok \u00e9s \u00f6nreflex\u00edv jelek mutatnak r\u00e1. Ilyenek a filmt\u00f6rt\u00e9neti utal\u00e1sok (pl. Chaplin vagy Bogart karaktere, expresszionista monument\u00e1lis d\u00edszletek \u00e9s vil\u00e1g\u00edt\u00e1s, film noirra utal\u00f3 jelmezek, stb.), a fest\u00e9szet jelenl\u00e9te, a zenehaszn\u00e1lat, stb. \u201eEzek a terek egy \u00e1tj\u00e1r\u00f3 metafor\u00e1i vagy egyenesen realiz\u00e1ci\u00f3i a k\u00e9pzelet, a t\u00f6rt\u00e9net, a mese vil\u00e1g\u00e1ba. \u2026 Gilliam fantazmatikus vil\u00e1gait v\u00e9gig egy v\u00e1gy tartja dinamikus mozg\u00e1sban. Ez a v\u00e1gy a dieg\u00e9zis szintj\u00e9n \u2026 a diktat\u00f3rikus rendszert\u0151l val\u00f3 megszabadul\u00e1s \u00e9s az igazi szerelem. \u00bbDe a bek\u00f6vetkezett g\u00e9pel\u00e9si hiba folyt\u00e1n v\u00e9gzetes l\u00e1ncreakci\u00f3, mondhatni pillang\u00f3hat\u00e1s indul be!\u00ab Az addig elszepar\u00e1lt vil\u00e1gok elemei \u00f6sszekeverednek.\u201d (Cs\u00f6nge) Minden nyomat\u00e9kosan a k\u00e9pzelet al\u00e1 rendel\u0151dik. A m\u00e9dium, a f\u0151h\u0151s, valamint a n\u00e9z\u0151 k\u00f6z\u00f6tti interaktivit\u00e1s feler\u0151s\u00f6dik \u00e9s\u00a0ami megt\u00f6rt\u00e9nhet, megt\u00f6rt\u00e9nik.<\/i>\u2013 \u00e1ll\u00edtja Murphy t\u00f6rv\u00e9nye. Itt a klasszikus t\u00f6rt\u00e9net\u00e9rtelmez\u00e9s nem k\u00edn\u00e1l megold\u00e1st. Csup\u00e1n a f\u0151h\u0151s k\u00fcl\u00f6nb\u00f6z\u0151 t\u00f6rt\u00e9netdarabjainak \u00e9s tudat\u00e1llapotainak, azaz k\u00fcls\u0151 \u00e9s bels\u0151 utaz\u00e1s\u00e1nak elk\u00fcl\u00f6n\u00edt\u00e9se \u00e9s a k\u00f6zt\u00fck l\u00e9v\u0151 \u201ekorrelat\u00edv viszony\u201d felismer\u00e9se ny\u00fajthat kiel\u00e9g\u00edt\u0151 lehet\u0151s\u00e9get az \u00e9rtelmez\u00e9sre. \u201eEz azt jelenti, hogy a narrat\u00edv szitu\u00e1ci\u00f3 megv\u00e1ltoz\u00e1s\u00e1nak indokolts\u00e1ga nem a t\u00f6rt\u00e9netszer\u0171 elemek \u00bb\u00f6sszeilleszt\u00e9s\u00e9nek\u00ab a viszonylat\u00e1ban gy\u00f6kerezik, hanem a t\u00f6rt\u00e9net(ek) \u00e9rtelmez\u00e9s\u00e9nek a szintj\u00e9n.\u201d (F\u00fczi \u2013 T\u00f6r\u00f6k 2006) Ugyanis a film egym\u00e1sra helyezett narr\u00e1ci\u00f3s kereteket \u00e9p\u00edt. \u201eNem lehet meg\u00e1llap\u00edtani azt, hogy t\u00e9nylegesen l\u00e1tunk-e valamit, vagy csak l\u00e1tni v\u00e9lj\u00fck. Ez a narr\u00e1ci\u00f3 b\u00e1rmely szintj\u00e9re igaz; mivel b\u00e1rmir\u0151l, ami \u00e9ppen bemutat\u00e1sra ker\u00fcl, b\u00e1rmikor kider\u00fclhet, hogy csak \u00e1lom volt. \u2026\u201d<\/em> (Cs\u00f6nge)<\/p>\n

\u00a0<\/p>\n\n\n

\n
\"\"
Sam Lowry\/Jonathan Pryce


<\/figcaption><\/figure>\n<\/div>\n\n\n

\u201eA\u00a0Brazil<\/strong>\u00a0t\u0171pontosan rekonstru\u00e1l egy szab\u00e1lyokra \u00e9s hazugs\u00e1gokra \u00e9p\u00fcl\u0151 rendszert annak a t\u00f6bbs\u00e9gnek a szem\u00e9n kereszt\u00fcl, aki mindezt nem \u00e9rti.\u201d<\/em> (OSHE)<\/p>\n\n\n\n

A\u00a0Brazil<\/strong><\/em>\u00a01986-ban az \u00e9v filmje lett. A Los Angeles Times kritikusa, Kenneth Turan a filmet \u201ea\u00a0Dr. Strangelove<\/em>\u00a0\u00f3ta a szatirikus politikai mozi leger\u0151sebb darabjak\u00e9nt\u201d jellemezte. Janet Maslin, a The New York Times munkat\u00e1rsa kijelentette: \u201eTerry Gilliam\u00a0Brazil<\/strong>ja, a rendk\u00edv\u00fcl siv\u00e1r j\u00f6v\u0151 vid\u00e1m, szellemes v\u00edzi\u00f3ja, kiv\u00e1l\u00f3 p\u00e9ld\u00e1ja a kom\u00e9dia komoly gondolatokat al\u00e1fest\u0151 erej\u00e9nek.\u201d<\/em><\/p>\n\n\n\n

Sz\u00e1sz Csongor<\/p>\n","protected":false},"excerpt":{"rendered":"

Szabadka\/2022.11.08. Terry Gilliam: Brazil, 1985, angol sci-fi, 132 perc. Tipp: olvas\u00e1shoz hallgass\u00e1tok a film zen\u00e9j\u00e9t (<—katt) Valahol a 20. sz\u00e1zadban\u00a0 \u2013 ezzel a ki\u00edr\u00e1ssal kezd Terry Gilliam kultuszfilmje.  A Brazil nem a j\u00f6v\u0151ben j\u00e1tsz\u00f3dik, a film...<\/p>\n","protected":false},"author":3,"featured_media":2463,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[8,9],"tags":[],"class_list":["post-2454","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kurbli","category-kurbli-filmklub"],"featured_image_src":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2022\/11\/313428535_10230472551058953_217638339996527986_n.jpg","featured_image_src_square":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2022\/11\/313428535_10230472551058953_217638339996527986_n.jpg","author_info":{"display_name":"Kari","author_link":"https:\/\/ctalker.org\/en\/author\/karina\/"},"_links":{"self":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/2454","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/comments?post=2454"}],"version-history":[{"count":2,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/2454\/revisions"}],"predecessor-version":[{"id":2462,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/2454\/revisions\/2462"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media\/2463"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media?parent=2454"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/categories?post=2454"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/tags?post=2454"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}