{"id":7952,"date":"2013-07-13T02:00:00","date_gmt":"2013-07-13T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/07\/13\/nueva-traduccion-federico-vladimir\/"},"modified":"2013-07-13T02:00:00","modified_gmt":"2013-07-13T02:00:00","slug":"nueva-traduccion-federico-vladimir","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/nueva-traduccion-federico-vladimir\/","title":{"rendered":"Federico Vladimir Strate Pezdirc i Jorge Tur Molt\u00f3: documentals de veritat"},"content":{"rendered":"

\"Captura_de_pantalla_2013-07-12_a_les_12-35-21.png\"
\nA la d\u00e8cada dels 50 va sorgir un corrent documentalista anomenada Cinema Directe<\/em> que confiava cegament en que les c\u00e0meres podien oferir un registre objectiu de la realitat. L’aparici\u00f3 d’uns equips molt m\u00e9s lleugers permetien una aproximaci\u00f3 “natural” als individus i als fets. Alguns cineastes amb una actitud una mica innocent van pensar que aquell seria el detonant per iniciar un acostament definitiu a la veritat.<\/p>\n

Seixanta anys despr\u00e9s, tot i que resulti innegable la influ\u00e8ncia que aquests cineastes van exercir, i fins i tot segueixin vigents moltes de les pr\u00e0ctiques que van comen\u00e7ar, les coses no s\u00f3n com se suposava que havien de ser: no existeix una realitat amb maj\u00fascules, sin\u00f3 que hi ha m\u00faltiples realitats entre cometes: l’objectivitat no \u00e9s possible, no pot existir una \u00fanica visi\u00f3. El director, per molt que ho intenti, sempre hi \u00e9s, i mai podr\u00e0 desapar\u00e8ixer del tot. El director hi \u00e9s pel simple fet d’enquadrar, de triar un pla, de decidir la seva durada, d’influir en el muntatge, i encara que pretengui ser un mer observador, la seva sola pres\u00e8ncia influir\u00e0 inevitablement en el transcurs dels esdeveniments.<\/p>\n

Dos documentals presentats recentment a Barcelona ens porten a reflexionar sobre tot aix\u00f2: ‘A Gallon of Monster Foam’<\/a> de Federico Vladimir Strate Pezdirc (Buenos Aires, 1983) i ‘Dime qui\u00e9n era Sanchicorrota’<\/a>, de Jorge Tur Molt\u00f3 (Alcoi, Alacant, 1980). El primer va ser projectat a El Palomar <\/a> dins del marc de l’exposici\u00f3 ‘In the future we will all be deers’, i el segon com a colof\u00f3 de la dotzena temporada de l\u2019Xc\u00e8ntric<\/a> al Centre de Cultura Contempor\u00e0nia de Barcelona.<\/p>\n

L’obra de Federico Vladimir Strate Pezdirc \u00e9s un collage narratiu en el que hi ha algunes peces que no encaixen; una autobiografia incompleta; una reflexi\u00f3 sobre el propi medi. Per qu\u00e8 i per a qui gravem? Per qu\u00e8 triem certes imatges i no unes altres? Qu\u00e8 passa amb la responsabilitat moral quan gravem els altres? T\u00e9 sentit intentar reconstruir quelcom que sabem per endavant que ja est\u00e0 perdut? A A Gallon of Monster Foam<\/em>, Federico realitza motlles del cos del seu avi, malalt d’Alzheimer. Apropa la c\u00e0mera al llit en qu\u00e8 jeu l’anci\u00e0. Gradualment, molt poc a poc, dia a dia, cent\u00edmetre a cent\u00edmetre. Registra silencis i temps morts durant hores amb l’esperan\u00e7a de que passi alguna cosa. Recorre alguns llocs que va rec\u00f3rrer el seu avi en un intent semblant al que va realitzar el protagonista de La Vida Sublime<\/em> (Daniel Villamediana, 2010): el de recompondre all\u00f2 que mai podr\u00e0 ser recompost. Una comesa impossible, s\u00ed, per\u00f2 tamb\u00e9 inevitable. Una tasca similar a la realitzada per Jorge Tur a Dime qui\u00e9n era Sanchicorrota<\/em>. Tur recorre les Bardenas Reales de Navarra intentant reconstruir la hist\u00f2ria de Sanchicorrota, un bandoler del s.XV que, com Robin Hood, robava als rics per donar-ho als pobres. O potser no? Tur pregunta als escassos habitants del lloc, fins i tot sabent que no esbrinar\u00e0 gran cosa sobre aquest bandoler. I aix\u00ed influeix en les respostes, manipula, est\u00e0 present tot el temps encara que no el veiem. Sanchicorrota, al cap i a la fi, no \u00e9s m\u00e9s que un MacGuffin, una excusa que li serveix per parlar de moltes altres coses. De la mem\u00f2ria col\u00b7lectiva, per exemple. De com es conforma. De com es transforma. De com es q\u00fcestiona.<\/p>\n

Deia Beckett que mentre que l’escriptura de Joyce tendia a l’omnisci\u00e8ncia i l’omnipot\u00e8ncia, demostrant tot all\u00f2 del que la literatura \u00e9s capa\u00e7; els seus textos, tanmateix, treballaven amb la impot\u00e8ncia i la ignor\u00e0ncia per arribar a la conclusi\u00f3 que mai podria aconseguir el que pretenia amb ells. Com Federico Vladimir Strate Pezdirc. Com Jorge Tur Molt\u00f3. Com molts altres. Afortunadament.<\/p>\n","protected":false},"excerpt":{"rendered":"

A la d\u00e8cada dels 50 va sorgir un corrent documentalista anomenada Cinema Directe que confiava cegament en que les c\u00e0meres podien oferir un registre objectiu de la realitat. L’aparici\u00f3 d’uns…<\/p>\n","protected":false},"author":1279,"featured_media":7936,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nFederico Vladimir Strate Pezdirc i Jorge Tur Molt\u00f3: documentals de veritat – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/nueva-traduccion-federico-vladimir\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Federico Vladimir Strate Pezdirc i Jorge Tur Molt\u00f3: documentals de veritat – A*Desk\" \/>\n<meta property=\"og:description\" content=\"A la d\u00e8cada dels 50 va sorgir un corrent documentalista anomenada Cinema Directe que confiava cegament en que les c\u00e0meres podien oferir un registre objectiu de la realitat. 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