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Rubrika "Videodrom", pokrenuta 2004. u "Slobodnoj Dalmaciji" i fokusirana na recenzije filmova s videotržišta, naslovljena je u čast istoimenog SF horora Davida Cronenberga. "Videodrom" ("Videodrome", 1983.) bio je već tada, početkom dvijetisućitih, proročanski film unutar (Cronenbergove) kinematografije i šire, a danas, 40 godina od premijere, njegova vizija je još frapantnija u relevantnosti.

Cronenberg je snimio kamen temeljac cronenbergovskog "body horrora" na zlatnoj sredini između "Moći razaranja" i "Muhe", inspirativan za "torture porn" trend i serijal "Slagalica strave", ujedno i prvi dio njegove neslužbene SF trilogije ("eXistenZ", "Zločini budućnosti").

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FILM: Videodrome; SF horor; SAD, 1983. REŽIJA: David Cronenberg ULOGE: James Woods, Debbie Harry OCJENA: **** ½

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Istovremeno je i vizionarsko-satirički ocrtao krajobraz budućeg televizijskog i medijskog "entertainmenta", pojavu nastranih reality showova i morbidnog video "contenta" s prikazima stradavanja i ubijanja, tj. čovjekovu opsjednutost (TV) ekranima koji postaju "oko (njegova) uma" i konzumiraju ga.

Dalekovidan film izišao je u vrijeme početaka popularnosti videorekordera i VHS kaseta. Videorekorderi su u međuvremenu postali stvar prošlosti, ali video je kao takav ostao sadašnjost i budućnost. Video je nastavio živjeti na TV-u, DVD-u, Blu-rayu, YoutTubeu... i gledati se na televiziji, internetu, laptopu, mobitelu, biti dostupan za gledanje 24 sata na dan svugdje i u svakom trenutku da ga možete ponijeti sa sobom u krevet.

Koincidencije li, "robocopovski" autosatirična reklama za televizijski kanal Civic TV, kojim predsjedava Max Renn (James Woods), glasi "Onaj koji nosite sa sobom u krevet". Civic TV je kanal rezerviran za "soft core" pornografiju i "hard core" nasilje od jutra do sutra, čime Max ispunjava "fantazije gledatelja".

Ipak, Max traži neki još žešći sadržaj da privuče veći broj gledatelja i otkriva eksploatacijski "underground" program/emisiju "torture porn" vrste nazvan Videodrom. Ljudi se u tom programu "zapravo" muče, siluju i ubijaju pred kamerom kao u "snuff" filmovima (sjetite se trilera "Osam milimetara" iz 1999.).

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"Ono što vidiš u tom showu je stvarno, nije gluma", opisuju Maxu "snuff TV", tako "realističan" da on "ne može skinuti pogled". Ubrzo će Max postati fasciniran Videodromom, nekakvom pretečom Dark Weba, kao i njegova djevojka Nicki (Debbie Harry, legendarna Blondie).

Pri početku filma Nicki izjavi "Žudimo za stimulacijom zbog nje same. Prejedavamo se u njoj. Uvijek želimo više, bilo da je to taktilno, emocionalno ili seksualno". Nicki će dobiti "sado-mazo" porive prilikom gledanja Videodroma, od bušenja ušiju golemom iglom do gašenja cigarete na dojki.

"Stvorena sam za taj show", kaže napaljena Nicki pod utjecajem televizičnog Videodroma koji će kontrolirati Maxov um poput medija i njegovu stvarnost pomiješati s halucinacijama da ovaj više neće znati što je stvarno, a što nije. "Televizija je stvarnost, a stvarnost je manje od televizije", pripovijeda ludi dr. O‘Blivion (Jack Creley) i želi televizirati svakodnevicu.

Ironično, Max je od tvorca konzumentskog sadržaja postao konzument i konzumiran u filmu koji je naslijedio "TV mrežu" i "Poltergeista" u vezi prikaza moći televizije, odnosno televizora kao izvora horora i navodi gledatelja da preispituje percepciju stvarnosti zajedno s Maxom.

"Videodrom" je i otišao korak dalje sjedinjujući zbilju i halucinaciju jednako kao ljudsko tijelo/meso/um i tehnologiju u scenama nove vrste psihološkog i "body horrora" ("long live the new flesh"), čak i za pojmove Cronenbergovih prethodnih uradaka ili "Izmijenjenih stanja" Kena Russella.

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VHS kaseta će načas oživjeti i nešto kasnije biti ubačena u Maxov otvoreni abdomen nalik vagini kao u videorekorder, a u istoj zjapećoj praznini/rupi naći će se i falusoidni pištolj u cronenbergovskim prizorima biološko-tehnološke evolucije i mutacije po psihoseksualnoj mjeri (u filmu spomenutog) Sigmunda Freuda, protagonista Cronenbergove "Opasne metode".

Max postaje hodajući videorekorder dok Cronenberg oslikava "evoluciju čovjeka kao tehnološke životinje" i najavljuje "pretjerano stimulirana vremena", "čudan novi svijet". "Mogu te programirati kao videorekorder", govore Maxu ljudi iza Videodroma. Naravno, "Videodrom" je "low tech", ali vrlo vizionarski film je projicirao "hi-tech" budućnost moderne televizije, interneta, portala..., vremena kad smo svi dio jedne (društvene) mreže.

"Uskoro ćemo svi imati posebna imena", predvidi netko u filmu našu sadašnjost korisničkih i inih "online" imena. Interneta u "Videodromu" još nema, niti mobitela, ali kao da ima. Maxova šaka se "terminatorski" sjedinjuje s pištoljem u mesnato oružje poput mobitela spojena s dlanom kao "novi organ", a ruka izlazi iz pulsirajućeg TV ekrana kao da grabi (gledatelja) za gušu.

Na tom istom ekranu ukazat će se krupno kadrirane Nickine usne spremne dati metaforički poljubac za laku noć. "Dođi mi", zavodljiva Nicki poziva Maxa koji će milovati i ljubiti TV prije nego što njegova glava bude usisana u ekran. Usta (s) TV-a su ga progutala.

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Probojna uloga Jamesa Woodsa

James Woods je u "Videodromu" odigrao probojnu ulogu. Godinu dana poslije uslijedio je nastup u "Bilo jednom u Americi", zatim "Salvadoru"... i

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Rubrika "Videodrom", pokrenuta 2004. u "Slobodnoj Dalmaciji" i fokusirana na recenzije filmova s videotržišta, naslovljena je u čast istoimenog SF horora Davida Cronenberga. "Videodrom" ("Videodrome", 1983.) bio je već tada, početkom dvijetisućitih, proročanski film unutar (Cronenbergove) kinematografije i šire, a danas, 40 godina od premijere, njegova vizija je još frapantnija u relevantnosti.

Cronenberg je snimio kamen temeljac cronenbergovskog "body horrora" na zlatnoj sredini između "Moći razaranja" i "Muhe", inspirativan za "torture porn" trend i serijal "Slagalica strave", ujedno i prvi dio njegove neslužbene SF trilogije ("eXistenZ", "Zločini budućnosti").

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FILM: Videodrome; SF horor; SAD, 1983. REŽIJA: David Cronenberg ULOGE: James Woods, Debbie Harry OCJENA: **** ½

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Istovremeno je i vizionarsko-satirički ocrtao krajobraz budućeg televizijskog i medijskog "entertainmenta", pojavu nastranih reality showova i morbidnog video "contenta" s prikazima stradavanja i ubijanja, tj. čovjekovu opsjednutost (TV) ekranima koji postaju "oko (njegova) uma" i konzumiraju ga.

Dalekovidan film izišao je u vrijeme početaka popularnosti videorekordera i VHS kaseta. Videorekorderi su u međuvremenu postali stvar prošlosti, ali video je kao takav ostao sadašnjost i budućnost. Video je nastavio živjeti na TV-u, DVD-u, Blu-rayu, YoutTubeu... i gledati se na televiziji, internetu, laptopu, mobitelu, biti dostupan za gledanje 24 sata na dan svugdje i u svakom trenutku da ga možete ponijeti sa sobom u krevet.

Koincidencije li, "robocopovski" autosatirična reklama za televizijski kanal Civic TV, kojim predsjedava Max Renn (James Woods), glasi "Onaj koji nosite sa sobom u krevet". Civic TV je kanal rezerviran za "soft core" pornografiju i "hard core" nasilje od jutra do sutra, čime Max ispunjava "fantazije gledatelja".

Ipak, Max traži neki još žešći sadržaj da privuče veći broj gledatelja i otkriva eksploatacijski "underground" program/emisiju "torture porn" vrste nazvan Videodrom. Ljudi se u tom programu "zapravo" muče, siluju i ubijaju pred kamerom kao u "snuff" filmovima (sjetite se trilera "Osam milimetara" iz 1999.).

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"Ono što vidiš u tom showu je stvarno, nije gluma", opisuju Maxu "snuff TV", tako "realističan" da on "ne može skinuti pogled". Ubrzo će Max postati fasciniran Videodromom, nekakvom pretečom Dark Weba, kao i njegova djevojka Nicki (Debbie Harry, legendarna Blondie).

Pri početku filma Nicki izjavi "Žudimo za stimulacijom zbog nje same. Prejedavamo se u njoj. Uvijek želimo više, bilo da je to taktilno, emocionalno ili seksualno". Nicki će dobiti "sado-mazo" porive prilikom gledanja Videodroma, od bušenja ušiju golemom iglom do gašenja cigarete na dojki.

"Stvorena sam za taj show", kaže napaljena Nicki pod utjecajem televizičnog Videodroma koji će kontrolirati Maxov um poput medija i njegovu stvarnost pomiješati s halucinacijama da ovaj više neće znati što je stvarno, a što nije. "Televizija je stvarnost, a stvarnost je manje od televizije", pripovijeda ludi dr. O‘Blivion (Jack Creley) i želi televizirati svakodnevicu.

Ironično, Max je od tvorca konzumentskog sadržaja postao konzument i konzumiran u filmu koji je naslijedio "TV mrežu" i "Poltergeista" u vezi prikaza moći televizije, odnosno televizora kao izvora horora i navodi gledatelja da preispituje percepciju stvarnosti zajedno s Maxom.

"Videodrom" je i otišao korak dalje sjedinjujući zbilju i halucinaciju jednako kao ljudsko tijelo/meso/um i tehnologiju u scenama nove vrste psihološkog i "body horrora" ("long live the new flesh"), čak i za pojmove Cronenbergovih prethodnih uradaka ili "Izmijenjenih stanja" Kena Russella.

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VHS kaseta će načas oživjeti i nešto kasnije biti ubačena u Maxov otvoreni abdomen nalik vagini kao u videorekorder, a u istoj zjapećoj praznini/rupi naći će se i falusoidni pištolj u cronenbergovskim prizorima biološko-tehnološke evolucije i mutacije po psihoseksualnoj mjeri (u filmu spomenutog) Sigmunda Freuda, protagonista Cronenbergove "Opasne metode".

Max postaje hodajući videorekorder dok Cronenberg oslikava "evoluciju čovjeka kao tehnološke životinje" i najavljuje "pretjerano stimulirana vremena", "čudan novi svijet". "Mogu te programirati kao videorekorder", govore Maxu ljudi iza Videodroma. Naravno, "Videodrom" je "low tech", ali vrlo vizionarski film je projicirao "hi-tech" budućnost moderne televizije, interneta, portala..., vremena kad smo svi dio jedne (društvene) mreže.

"Uskoro ćemo svi imati posebna imena", predvidi netko u filmu našu sadašnjost korisničkih i inih "online" imena. Interneta u "Videodromu" još nema, niti mobitela, ali kao da ima. Maxova šaka se "terminatorski" sjedinjuje s pištoljem u mesnato oružje poput mobitela spojena s dlanom kao "novi organ", a ruka izlazi iz pulsirajućeg TV ekrana kao da grabi (gledatelja) za gušu.

Na tom istom ekranu ukazat će se krupno kadrirane Nickine usne spremne dati metaforički poljubac za laku noć. "Dođi mi", zavodljiva Nicki poziva Maxa koji će milovati i ljubiti TV prije nego što njegova glava bude usisana u ekran. Usta (s) TV-a su ga progutala.

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Probojna uloga Jamesa Woodsa

James Woods je u "Videodromu" odigrao probojnu ulogu. Godinu dana poslije uslijedio je nastup u "Bilo jednom u Americi", zatim "Salvadoru"... i

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StoryEditorOCM
Film & TVCINEMARK OBLJETNICA

‘Videodrom‘: Vizija televizije budućnosti

Piše Marko Njegić
23. veljače 2023. - 11:03
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Rubrika "Videodrom", pokrenuta 2004. u "Slobodnoj Dalmaciji" i fokusirana na recenzije filmova s videotržišta, naslovljena je u čast istoimenog SF horora Davida Cronenberga. "Videodrom" ("Videodrome", 1983.) bio je već tada, početkom dvijetisućitih, proročanski film unutar (Cronenbergove) kinematografije i šire, a danas, 40 godina od premijere, njegova vizija je još frapantnija u relevantnosti.

Cronenberg je snimio kamen temeljac cronenbergovskog "body horrora" na zlatnoj sredini između "Moći razaranja" i "Muhe", inspirativan za "torture porn" trend i serijal "Slagalica strave", ujedno i prvi dio njegove neslužbene SF trilogije ("eXistenZ", "Zločini budućnosti").

Istovremeno je i vizionarsko-satirički ocrtao krajobraz budućeg televizijskog i medijskog "entertainmenta", pojav...

#CINEMARK#CINEMARK OBLJETNICA#FILMOVI 80-IH#SF HORORI#KULTNI FILMOVI#DAVID CRONENBERG#JAMES WOODS#DEBBIE HARRY
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12. svibanj 2024 14:33