Sunday, March 27, 2011

Made in U.S.A

It's occasionally important to treat fiction as if it's realistic and truth as if it's fabricated I think. At least that's what they taught me in school. Definitive strikes create signs to which meaning is attached for popularized agendas composed of particular events whose governing narrative forms a general conception. In this way we arrive at the truth and make executive decisions in relation to one of its specific interpretations and its collaborative polemic. Reason is a critical tool for such undertakings as it uses logic to evaluate hypotheses. The metaphorical dimension of collaborative interpretive polemics creates a layer of anti-truth from which the next generation of theories receives their political currency. Thinking about things in generational terms is somewhat of a mistake. Generations within generations germinate contradictory classifications assuming your economy is robust and permissive enough to absorb the fallout.

Jean-Luc Godard's Made in U.S.A terminates the truth with extreme flattery. A long list of manufactured expectations is subverted and traditional associations are disengaged from their cultural nuances apart from the idyllic feminine caricature represented by Paula Nelson (Anna Karina) in love. The Rolling Stones's "As Tear Goes By" reappears like Vinteuil's sonata interrogating the infantilization of the left by taking control of its means of production. An arrow flies throughout attaching itself to various established particularities which it accumulates and flattens through means of the continuous ironical disintegration of black and white agendas (like a long never ending line of aggregated kites establishing an evocative intellectual continuum). Suddenly there's a character, a motivation, a detective, murder. To the left to the right, there's no escape. Could it have been phrased differently? Seemingly random ideas and observations are more intriguing than structural designs when rationally designed according to the rhythms of a coordinated fluctuating poetic cinematic sensibility. Love that dress. May have mixed up the decades a bit in this review.

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