Aliens
Após rever em DVD a Alien Quadrilogy, fui ler novamente um artigo que há uns meses havia sido publicado na Sight & Sound, do qual faz parte o seguinte excerto:
[…] 'On top of this, there are a range of fanciful contemporary readings of the 'Alien cycle', such as the 'Three Presidents Theory', which locates the first three movies within the decade of their release and attributes to each the obsession of the dominating US president of the period. Thus the gung-ho action of James Cameron's marines-in-space romp Aliens (1986) is interpreted as mirroring the military warmongering of the Reagan regime, while the lethal Aids-infected eroticism of David Fincher's Alien3 (1992) prefigures the sexual obsessions of Clinton's promiscuous premiership.
Meanwhile Ridley Scott's original, with its subplots of corporate corruption and interstellar double-dealing, is aligned with the post-Watergate paranoia that infected America in the wake of Richard Nixon's resignation in 1974. For those who buy who buy into this theory, the current release of Alien: The Director's Cut fuels parallels between the election-fixing antics of Nixon and his campaign in Vietnam and the suspicious aroused by George W. Bush's election victory in Florida and his subsequent prosecution of a controversial war in Iraq. Add to this the search for potential weapons of mass destruction in the form of the alien bugs for which The Company sends Ripley and her crew mates into hostile foreign lands, and Alien: The Director's Cut begins to seem surprisingly contemporary in its preoccupations.' […]
Nenhum comentário, apenas uma constatação: o último filme – Alien Resurrection (diga-se de passagem, o mais cronenberguiano de todos) – acaba com a imagem de um mundo pós apocalíptico, onde é possível ver a Torre Eiffel partida ao meio.
Após rever em DVD a Alien Quadrilogy, fui ler novamente um artigo que há uns meses havia sido publicado na Sight & Sound, do qual faz parte o seguinte excerto:
[…] 'On top of this, there are a range of fanciful contemporary readings of the 'Alien cycle', such as the 'Three Presidents Theory', which locates the first three movies within the decade of their release and attributes to each the obsession of the dominating US president of the period. Thus the gung-ho action of James Cameron's marines-in-space romp Aliens (1986) is interpreted as mirroring the military warmongering of the Reagan regime, while the lethal Aids-infected eroticism of David Fincher's Alien3 (1992) prefigures the sexual obsessions of Clinton's promiscuous premiership.
Meanwhile Ridley Scott's original, with its subplots of corporate corruption and interstellar double-dealing, is aligned with the post-Watergate paranoia that infected America in the wake of Richard Nixon's resignation in 1974. For those who buy who buy into this theory, the current release of Alien: The Director's Cut fuels parallels between the election-fixing antics of Nixon and his campaign in Vietnam and the suspicious aroused by George W. Bush's election victory in Florida and his subsequent prosecution of a controversial war in Iraq. Add to this the search for potential weapons of mass destruction in the form of the alien bugs for which The Company sends Ripley and her crew mates into hostile foreign lands, and Alien: The Director's Cut begins to seem surprisingly contemporary in its preoccupations.' […]
Nenhum comentário, apenas uma constatação: o último filme – Alien Resurrection (diga-se de passagem, o mais cronenberguiano de todos) – acaba com a imagem de um mundo pós apocalíptico, onde é possível ver a Torre Eiffel partida ao meio.
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