Porton, Ellickson and Nanni Moretti.pdf

Morettis mysterious ailment is diagnosed by his

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Moretti's mysterious ailment is diagnosed by his Chinese doctors, Yu Ming Lun and Tou Yui Chang Pio, in Caro Diario ( Dear Diary). 14 CINEASTE This content downloaded from 128.114.163.7 on Sat, 4 Jan 2014 14:54:47 PM All use subject to JSTOR Terms and Conditions
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emulate aristocrats. I'm not talking about merit, I'm talking about method. My films are more personal, both in style and content. Cineaste: Many of your films seem imbued with a spirit of self- irony y particularly in reference to the travails of the post- 1968 generation. This is particularly true of Ecce Bombo. Moretti: I Am Self-Sufficient is also a film in this vein. I Am Self- Sufficient was an earlier success, but it was designed for a very specific public - a film-oriented public. The success of these two films, in two different circuits of distribution, was due to the fact that for the first time a generation made fun of itself in public. For me, public transparency was very interesting. Long before glasnost came along, I wanted to criticize my world in public , because the left in the past always had a politics of double truth. Amongst ourselves, we would talk about things that weren't working. But, then, in public, we had to appear to be completely and monolithically in agreement. It's thought that we shouldn't criticize ourselves, because we shouldn't appear weakfor fear that our adversaries might profit from our weakness. Cineaste: Most factions of the left do not want to appear vulnerable to the other side. Moretti: This adherence to double truth was a Stalinist form of politics. I don't care if the right profited from seeing the left's confusion in a film. You always have to start with the truth, in order to go on and make things better. Ecce Bombo talked about the middle class left of a big city. My friends called me and toldme that they liked thefilm. After a week had passed, they called me again and said, "Even my par- ents saw the film, and they liked it, too." My friends told me they were bothered that their parents liked the film. This is an exam- ple of washing your dirty laundry in public, which is what I wanted to do. If people whowere not part of the left liked the movie, I thought that was fine. This generation weaned on the mass media came to be seen as a dull public that was unable to laugh - very dogmatic and rigid. Finally, with Ecce Bomboy they were able to laugh atthemselves. Cineaste: Many of your films reflect a somewhat ambivalent view of popular culture. In Caro Diario, for exampley the professor character initially hates television and constantly quotes Enzensberger , but eventually becomes a soap opera addict. Moretti: In Caro Diario , I wanted to show what happened to intellectuals between the Seventies and Eighties. They passed from a complete disdain for television to a complete acceptance of it. Naturally, this is an intellectual journey that people take over the course of many years, but the section ofthe film called Islands lasts for a few days. At the beginning of this chapter of the film, Gerardo, the professor, says truthfully that it's been thirty years since he's watched television. Then he starts to watch it again and soon can't live without it. I wanted to tell the story of this phenomenon, but naturally I'm not in agreement with him.
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