The relationship with the past, a mechanism which is crucial to this purposive interpretation justifying the contingencies, make their way in advertising, creating gravitational lenses similar to those observed in the cosmos ; the same way as stunned researchers with the electronic eye glued to the telescope, we see the presence of these artifacts as an investigative tool and not just a distortion, to enter a new and widespread desire to flashback to the safety of ourselves to find confirmations of relativity. If the traditionalism of other commercial work in a linear fashion suggesting a mythological past to assign (tendency) to the loss of the meanings of the consumer, which touches face a mechanism that has changed its operation to a company rather than as a mythological The Coca Cola Company to be thought desirable to enhance this process with a redundancy: a double flashback. The very first sequence has a movie period, and then fade into a clear reconstruction of an old movie where the black and white, along with the movements of the picturesque barman, do not aspire to a full likelihood, do not pretend ie to create a trompe l'oeil hyper, but want to be accepted as "reconstruction declared," as certified by the return permanently to a color image in the latter part of this segment. If we had stopped here, there would be nothing new, we would be faced with a canonical narrative. Unfortunately, the eye of the viewer is forced to make a stopover between the distant past and the present. The manufacturer of fizzy drinks is not enough to glorify its origins, and here's the birth of an underworld of past life, comparable to the advent of the terrifying Tower of Purgatory as opposed to those depths of hell that Dante would be hidden somewhere beneath the foundation di Gerusalemme. La retorica del disagio economico si rivolge al passato del consumatore con lingua bifida, rivalutando la proverbiale inventiva italiana, fatta di una capacità di rielaborazione tanto geniale quanto apparentemente "alla portata di tutti". La nostra mente è sottoposta ad un duplice cedimento prospettico. Quel presente privo di benessere, che vorremmo imputare ad una cospirazione mondiale che ha arricchito pochi oligarchi, viene messo sotto ad una nuova luce: a cedere non è stata la semplice rincorsa alla ricchezza materiale (gestita dal potere in tutte le sue forme), il mito del consumo è punto di partenza inderogabile anche per il nostro passato individuale, e la madre di famiglia, meritevole ma allo stesso tempo responsabile del success of the product, be the real target of our possible representations for a paycheck worryingly thin or absent. Take it with you, that made us successful, and therefore with yourselves, Coca Cola causing what seems to be saying the same slight sense of suffocation experiments during the swallowing of the beverage. That servile wish buonappetito, quell'inquadratura close on a table crowded that makes us smile because it only looks like stock footage (a kind of psychological censorship), this ride desperately, waving the banner of the past as an effective merchant. The only information they need to defuse this spot is that by persuaders may not be revisionism that does not cover the news more ephemeral, crafting their highly perishable pageants such as this. Hired as extras in a spaghetti western where you see the Colosseum, dissonant element of the landscape, with courage we need to focus on a pianist who not only shot himself countless times, but that has already received a decent burial for some time. It's up to us to decide if the music that comes from the same instrument using a mechanical tape it sounds just as good, if the decree passed there is functional or not, at times even tougher for our conservatism, gunmen arrembanti trampling the spurs of the plant saloon claiming to have the whole bottle of whiskey, while the other patrons, terribly amorphous and odorless, they just stand on the edge of the party being satisfied to survive sweetened beverages.
0 comments:
Post a Comment