12 anys d’esclavitud<\/em> \u00e9s una gran pel\u00b7l\u00edcula, fins i tot encara que s\u2019insereixi pl\u00e0cidament dins dels estereotips d’un trillat “Realisme de Hollywood”.<\/p>\nEn lloc de q\u00fcestionar el mitj\u00e0 que li permet enunciar, McQueen fa \u00fas d’ell per colpejar. El principal problema estaria en qu\u00e8 la seva est\u00e8tica est\u00e0 m\u00e9s a prop del naturalisme que del realisme. La distinci\u00f3 entre ambdues \u00e9s aqu\u00ed pertinent: la primera busca recrear fidelment, prestant atenci\u00f3 a la cura del detall, commovent i emocionant, una narraci\u00f3 plena de plasticitat. El realisme, per\u00f2, aspiraria a que aquesta mateixa plasticitat tingu\u00e9s un sentit m\u00e9s t\u00e0ctic o m\u00e9s estrat\u00e8gic al servei d’una dial\u00e8ctica de la hist\u00f2ria.<\/p>\n
La principal objecci\u00f3 per a 12 anys d’esclavitud<\/em> \u00e9s que pateix d’aix\u00f2 \u00faltim. En el seu lloc presenta una hist\u00f2ria lineal que transmet v\u00edvidament la suor dels cossos a trav\u00e9s la ficci\u00f3. Possiblement aquesta sigui la pel\u00b7l\u00edcula amb m\u00e9s implicaci\u00f3 subjectiva, personal i biogr\u00e0fica per al seu autor des del punt de vista del contingut, per\u00f2 en la q\u00fcesti\u00f3 formal, sento que \u00e9s un pas enrere.<\/p>\nL’\u00e8mfasi en all\u00f2 terrible de la hist\u00f2ria de Solomon Northup no aconsegueix fer-nos oblidar altres possibilitats a l’hora d’abordar un assumpte tan espin\u00f3s com l’esclavitud, sobretot venint d’alg\u00fa amb acc\u00e9s a no pocs discursos i m\u00e8todes art\u00edstics. No es tractaria en cap cas de teoritzar la producci\u00f3, per\u00f2 s\u00ed potser introduir una cadena de transmissi\u00f3 que fos des dels afectes l’intel\u00b7lecte, estimulant el pensament cr\u00edtic. 12 anys d’esclavitud<\/em> commou a la sala per\u00f2 s’oblida un cop passa el temps. No la veig sent utilitzada com a “arma pol\u00edtica” per cap col\u00b7lectiu oprimit sin\u00f3 guanyant als Oscars i “blanquejant” consci\u00e8ncies.<\/p>\nHi ha molts plans on el director es deixa portar pel g\u00e8nere escollit, des d’un paisatge amb vaixells realitzat per ordinador, a la suor i les ll\u00e0grimes d’un vibrant Chiwetel Ejiofor (Solomon Northup) caient de manera oportuna i precisa. Naturalisme. Aix\u00f2 preveu d’una utilitzaci\u00f3 m\u00e9s pol\u00edtica (ergo m\u00e9s hist\u00f2rica) del film. Hi ha grans exemples d’aix\u00f2 en la hist\u00f2ria del cinema (casos de realisme assolit a trav\u00e9s del documental o la ficci\u00f3, o la barreja de tots dos). Un magn\u00edfic exemple n\u2019era el director criticat per Rivette, l’itali\u00e0 Gillo Pontecorvo, que despr\u00e9s de Kap\u00f2<\/em> (1960) va realitzar La Batalla d’Alger<\/em> (1966) i Queimada<\/em> (1969), precursores del g\u00e8nere del cinema pol\u00edtic i de l’anomenat Tercer Cinema (Third Cinema<\/em>).<\/p>\n","protected":false},"excerpt":{"rendered":"Hi va haver un temps en el cinema en qu\u00e8 l’estetitzaci\u00f3 del sofriment en c\u00e0mera suscitava un llarg i acalorat debat sobre la moral. Part d’aquesta discussi\u00f3 se centrava en…<\/p>\n","protected":false},"author":1261,"featured_media":8474,"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":[],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\n
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<\/p>\n