[Etcetra] A study on the Short film II

by Dontrell Lovet't

from, [PsychoNeuroFilmography]

We has been said has been said; now let's make the painful plight to say the truth.........



There purpose of life is that there is no definite purpose other than to be and become. The film, made in the image of man, is on that purpose of becoming, ever-becoming, yet it still stumbles and trips on the straights of its own creation. Being that film is made in the image of man, it too holds the imperfections of man, so beyond the interstitial, it is said that film was created to construct the future of humanity- upon its conclusion, the mind is set to wander, wonder and sequence what can become of the human race.

Actors are artist and as such able to grasp all cruelties that transpires and transfigure the mode of a film, whether consistent or shifting; it is with the compound that has become their life that details the rhythm of a film, moreover, a fiction so telling, so emphasizing, so captivating, that in a matter of moments, the moment teir physical language begins to speak, that fiction then becomes a reality corrosive to the life of audience, rekindles a flame that is reminiscent to pain perhaps most have felt. To be placed in the language, whether bliss, rather melancholy, rather terror or lustful desire, the momentous captivity that carries the eyes of viewers through the body of the film as blow flow through the arteries, cements a purpose, decimates the limitations of the filmmaker imposed by the filmmaker. In the short film left to its seemingly vague being, a conclusion is written in the hearts of the audience, and it is the heart that determines an "happily ever after" or a "tragic" ending, the filmmaker has no true control over this sequence. The actor is only the intermediary that drafts what cannot be forged by the novice mind, by the vacu
um void of any pride of its own tale of emptiness.

It must be said that film in itself is a viral manifestation upon the human condition, the sweetest and most detriment of vices that plagues. But as an image of man, the day film was created, the very next day, it was being perverse as man came about, the preceding day, he enslaved his fellow. If film has not sought freedom to live freely, it is because man has not, serves itself in a platter as an indigent example to ignite a subsidiary revolution, planted a kernal in an unsown soil that cannot take fruit, a wingless bird that dreams of the sky but cannot take flight.

The disharmonious endeavor is a definite symptom of decay, a malignancy along the vertebrae ignoring the anatomical structure of uprightness and refuses the plight of both feet upon the earth. Bygone filmmakers were aware of this malignancy, aware of the disarticulation that follows in a sole effort to save the body from the spread of infection. Major film is bleeding but it has not yet been bled dry of its metaphysical inaccuracies, its ignorance and ignoring of opportunity to introduce this world that those who know not of its splendor, its pains, its wanders, its mysteries. Furthermore to solve the intricate wound that art has been inflicted upon the artist, a greater understanding of the artist's desire, depravities, past and constructed worlds must be documented accurately, else it is left upon us as a confounded event.