Alberte Pagán

Quim.com

Quim.com

(2014, 82′)

Em 1971 Iván Zulueta reduziu o King Kong de Schoedsack & Cooper (1933) a uns vertiginosos 7 minutos, despois de refilmá-lo, a saltos, da pantalha do televisor no que se emitia. Deste jeito os 35mm originais (formato profissional) acabárom comprimidos nos 8mm (formato amador) do cineasta basco, mas só despois da sua conversom ao formato televisivo.

Eu retomei a película de Zulueta para devolver-lhe a duraçom original. A impossibilidade de recuperar o original por meio deste processo sublinha a radical diferença entre um e outro projecto e serve-me para analisar a construçom de Zulueta que, contra o que se poda pensar, começa já avançada a acçom da película de Cooper. Zulueta prescinde das primeiras seqüências para encetar a sua obra, significativamente, no momento no que aparece a primeira cámara na obra original. A actriz mostra terror, mas nom ante o símio Kong, senom diante da cámara cujo zunido ouvimos (o cinema como monstro).

Incorporei a banda sonora original como cinta métrica sobre a que medir as convergências e divergências entre ambas obras. A image de partida foi umha versom digital de baixa resoluçom que reconvertim em alta resoluçom. A viage de formato em formato (35mm – TV – 8mm – AVI – HD) deveria ter acabado idealmente nos 35mm iniciais, incorporando toda a granulosidade e falta de definiçom que arrastra.

Perde-se o relato polo caminho, mas afloram o racismo e o machismo como nunca antes.

In 1971 Iván Zulueta shrank Schoedsack & Cooper’s King Kong (1933) into a dizzy 7 minutes, after refilming jumpingly off the TV screen during a broadcasting of the film. Thus the original 35mm (professional gauge) ended up compressed into the tiny 8mm (amateur gauge) of the Basque filmmaker, but only after having been converted into a TV signal.

I took Zulueta’s film and gave it back its original duration. The impossibility of recovering the original film by extending the time highlights the radical difference between both projects, and it comes in useful to study Zulueta’s construct, which, by the way, does not start at the beginning. Zulueta dispenses with the first sequences and he significantly starts his film only when the rolling camera in the original King Kong shows up. The actress expresses horror, although not before the big ape Kong, but in front of the camera, the cranking of which we can hear (cinema as monster).

I have included the original soundtrack as a tape measure against which we can measure the divergences and convergences between the two films. The raw material I used was a low definition digital version of the film which then I transformed into a high definition one. The journey from gauge to gauge (35mm – TV – 8mm – AVI – HD) should have ideally ended on the original 35mm, with all the grain and lack of definition gathered along the way.

You may miss the story, but all the racism and sexism comes to the surface as never before.























Powered by WordPress | Optimizado para Firefox