A Brief Gnostic History of the Spontaneity in the Entertainment Industry (Part 2)
The result of this vicious cycle is boredom in front of the media who can no longer show spontaneous events, but people producing events, gestures, attitudes to attract the attention of the media, following scripts and languages developed by themselves.
Stars, celebrities, pin-ups, children and animals in film, TV and advertising no longer sufficient to inject something spiritual and spontaneous structures cliche of the various media genres.
But something new was on the horizon of culture with the literary tradition of American realism. F. Scott Fitzgerald and Ernest Hemingway have presented their works in the intellectual rebellion with the disillusionment caused by wars and economic depression: characters who experience the splendor and despair as in “The Great Gatsby” by Fitzgerald, and Hemingway, tough players (soldiers, bullfighters, athletes) and intellectuals disillusioned.
This search for authenticity and realism flows into the blossoming of the individual in American literature with names such as Tennessee Williams and Allen Ginsberg. Emotional disorders within the family in Williams and “spontaneous bop prose” of Ginsberg with reports of wandering lives, characters and tuned at the same time mystical and reject the conventions fired the imagination of young readers, preparing the ground for the counterculture in the decade to come 60.
These changes of the cultural scene make the entertainment industry look at the spontaneous “authenticity”, no longer in the representation of emotions, but on “authentic emotions,” “gross” and hampering all paradigms of the Star System and celebrities. Perhaps the embryo of this paradigm shift is in the famous “Method” of the Actors Studio.
The entertainment industry will create the most invasive and damaging to prospect and capture the spontaneity: the blurring of boundaries between public and private
The result can be both schizophrenic behavior of the actor (the identity is diluted in the range of archetypal personas needed to give life to different characters) or the actor who plays himself.
The entertainment industry creates the most invasive and damaging to prospect and capture the spontaneity: the blurring of boundaries between public and private, fiction and reality. Henceforth, private perversions will be transformed into public virtues. If the scheme of celebrity scandals events were designed to methodically gain visibility in the media, these scandals now earn spontaneity and authenticity: when interpreting themselves, actors, presenters, and different characters to extend media fiction to privacy.
For example, actors like Jack Nicholson (also graduate from the Actors Studio), Juliette Lewis and Mickey Rourkey extend privacy problems of misfit characters and potentially psychotic experienced by them on screen (and are keen to expose this on channels like E! Entertainment ). Or is it the opposite, the “authenticity” of their performances fiction being fed by the dark aspects of their psyches?
This experiment fired the imaginations of the entertainment industry. It is the embodiment of Gnostic mythology that narrates the Demiurge trapping the man in reality artificially constructed to monitor it, scrutinize it, to systematically monitor the expression of spontaneous and authentic (particles of light) to seduce him, and finally isolate it and exploited it.
Themed films critically as Gnostics City of Ember (Dark City, 1998) and Truman Show (Truman Show, 1998) the rapid growth of Realities Show (and variations such as “MythBusters,” “VCR” or “The People Speak “), inspired by the Oracle design expands the trend of merging public / private, fiction / reality: scan all perversions to expose publicly how private virtues, authenticity, spontaneity. Compulsion, impulsivity, hypocrisy, alienation, paranoia, psychosis, etc.., Emerging media of individuals in environments artificially created, is the spiritual spontaneity (particles of light) converted into productive and regressive ways to maintain the entertainment industry.
The complex media is ultimately the cheapest solution, fast and profitable to capture the spontaneity: no actors, methods or complex strategies scenic or theatrical. Pick up ordinary people or celebrities and candidates in confined environments or artificially constructed and exposed on camera, caught by surprise.
In the end, the audience is identified and laughs sardonically these situations because, after all, is the materialization of all the Gnostic mythology of the human condition in this world, exiles and prisoners, observed by a Demiurge that seduces with the possibility of purchasing power who withdraws from the situation.
Ethical spontaneity would be free themselves in the game and play. But that would explode the logical structures of entertainment designed to channel these energies to a spiritual purpose and lucrative market. Perhaps, as provocatively claimed the French critic Jean Baudrillard, in actuality the only spontaneity is in absolute terror for political or strategic futility of these acts: do not seek the seizure of power, not to be to attract the concentric waves of media blasting (literally) scripts of the motivations of rational policy.
Mestre em Comunição Contemporânea (Análises em Imagem e Som). Jornalista e professor na Universidade Anhembi Morumbi nas áreas de Estudos da Semiótica e Linguagem Audiovisual. Pesquisador e escritor, co-autor do "Dicionário de Comunicação" pela editora Paulus, organizado pelo Prof. Dr. Ciro Marcondes Filho e autor dos livros "O Caos Semiótico" e "Cinegnose – a recorrência de elementos gnósticos na produção cinematográfica" pela Editora Livrus.