The return of the old Hollywood franchise and not betting. Is the entertainment industry to be changed, or are we?
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Star Wars, Ghostbusters, Indiana Jones, classic monsters, Labyrinth , Jurassic Park, transformations live action of old cartoons, Mad Max, Rocky Horror Picture Show , Terminator, Jumanji , Memento and everyone else. The list of remakes, reboots, sequels, prequels and sequels is not better defined roughly endless these days. It just has to wonder why the Hollywood budgets billionaires , in the last two or three years, has begun to be literally obsessed with herself , and it has acquired a kind of gastritis who apparently forced her to chew and chew the walls of his own stomach.
The result is a lack of perceived future : because you look back and not forward? Possible to have inherited the scepter of the contemporary and its interpretation are few meager sagas as Hunger Games when did what today we would need to a vigilant of what happens in a suddenly very wide world?
The answer to such a complex question can only be as complex, and perhaps the only way to escape the trap of many stereotypes to the right and raised spezzettarla is missing in most levels.
At a material level, the reason that the big studios are oriented rejuvenation of old franchise has a highly cheap . No need to be wolves of Wall Street to hear the vice finance deficient that grips anyone at any step of the grand staircase, so it is natural that (for example) a giant like Warner Bros prefer to pull out of the mothballs a character whose rights have already pocketed and held as Indiana Jones, rather than spend a newcomer , whose hold on the public would, moreover, a bet.
When you are poor, the risk margin thins and get in the game it is much more expensive. You not even need the numbers in hand to understand the need a sure hit when lives and jobs are constantly put at risk; We need only common sense. If life gives you lemons make lemonade, as dictated by a saying American. And although it is true that these days it looks like you’re drowning in the lemonade is to be hoped that, with the passage of time and the safes full of the net gain of the box office giants like Jurassic World and The awakening of the Force (reinventions born exactly philosophy savings and without fail ) can be born a new hope. To dare .
The second level pertains more to the realm of speculation and conjecture. Poses a question of the nature of identity and goes something like this: in front of a dark future that threatens to wipe out the first among all certainty, that is, our peaceful existence on a planet healthy and not sick, you must continuously turn his head to not lose sight of the past . We need to choose not to see. Must be prune trees of the big narratives of success to make room for new life and new branches but never destroy the plant. And that’s why we speak of operation longing; because those plants are, in a sense, ourselves. We grew up watching Ghostbusters, we trembled foolishly accident of Jumaji , our grandparents and parents are made to bring the cinema by their boyfriends and girlfriends embrace looking for The Mummy, Creature from the lagoon King Kong and The Invisible Man , enjoying the thrill of terror that ran behind his back.
It is as if we were dominated by the afraid a sudden disappearance of what was the point of feeling the need to anchor it to what will be, in a back and forth between past and future where the present is deleted. The set of franchise Hollywood corny is somehow our mythology: an epic and poetic going back welded and bolted beneath our feet almost had to give us the strength to face the mysterious change ahead of us, almost had to help us fight the new enemies with the help of old ghosts.
I do not see it, but is waiting for us: it’s in the emergency refugees, again in the destruction of natural resources and climate change, in the advent of the upcoming virtual reality that could creep up without our knowledge in the ever wider and narrower set interactive space, in the unpredictable Middle East crisis of which we know all too little, in the gallop of a technological development which is almost impossible to define the boundaries but we suspect always has come much further than we are told.
All of this is new? Absolutely not . Fear of the league every age and it is not said that, today, there is a reason to be more frightened than they were Europeans at the dawn of World War II. The next few pages of the book have always been and always, perhaps, will be black, but the task of Hollywood remained unchanged .
In the fifties called the Dream Factory , which continues to be true today, even if the threat of escapism is more stringent. Some of us, in fact, look with fear evasion in a more reassuring , where everything is already established and Luke Skywalker still does not have a hand as John Hammond has already recreated dinosaurs in tube.
Is not Hollywood to be changed, it’s us.
We are probably we to have new requirements . The paradox is that, on closer inspection, it is needs that big Hollywood aims to satisfy studied introducing new elements in the scenarios already fully internalized, not forgetting to keep your hand firmly on portfolios.
And, in the most commendable, he succeeds in. Mad Max: Fury Road , and through dystopia with a sizzling female character that corresponds to the voltage to an equity gender still not reached in the action genre, he engaged in an existing franchise to give Body phobia of global warming ; Star Wars has introduced a generation of perpetual adolescents unresolved and seemingly lost in his equation perfectly calibrated; the remake of Rocky Horror will stage Laverne Cox , the famous activist for the rights of transsexuals with a cover of Time as assets; Rocky saga has passed the torch to a star of color; The Ghostbusters are going to permanently change sex .
In the old, in fact, there is already a space for the new. The only thing we need, perhaps, is to be patient. Wait for the studios of Amazon and Netflix (as in traditional ones) to a generation of wise conservative with peaks of progressivism will take over one of pure progressives can bend the needs of industry ‘entertainment to those of a rapidly changing world embracing, albeit slowly, the desire to live in the present. In the meantime, we just pleased to speculate, to question. This is certainly the way to a pop culture that adequately represents not what we were and we will be, but what we are.
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