THE FICTION LIKE RECORD [Found Footage Inmobiliario]. Real-estate fiction compiles material formed by movies of fiction where the problematic ones associated with the question of the housing appear in the plot principal or crusades with this one. The fiction rarely treats on places; in the fiction it imports the history. But if we attend to the location, without stopping paying attention to the plot, we will be able to accede to part of the movie knowledge stored in the audio-visual image. Let’s analyze this residue of objective knowledge of the filmed context:
Some cities turn out to be a paradigmatic scene for the real-estate plots. New York, London or Los Angeles are scenes in constant transformation, of which some movies suppose a record of what erased the progress.
What does stay today of the building that it managed to resist to the demolition thanks to the help of a few small flying saucers in Batteries not includes (released in Spain like Our wonderful allies)? Provided that the history passes in a solitary building in the middle of the rubbles, was making clear the producer Ronald Schwary, we had to find an uncultivated area with buildings burned around. Finally we decide on a royal building in her 8th Street between the avenues C and D in the Lower East Side of New York. The building already does not exist. In his place one finds today the substation of the Office of Housing, in a different well environment. The Lower East Side has been the scene of big urban transformations.
A few years before the filming of Batteries not includes, the same scene was a witness of a strong alliance between the cultural industry and real-estate market. It began the process of gentrificación of the Lower East Side, accompanied and promoted by a rapid mercantilización of the local subculture. Downtown 81 is a singular case: a fiction represented by the same real-life protagonists. More interesting than his biopic Basquiat, this fiction stops to guess certain conscience of the carried out artist. Undoubtedly, not the sufficient one, as already contemporaries were demonstrating fewer marketinianos: For more alternative that it seems his pose, the total usencia of political auto-reflection condemned to the art of the Lower East Side to the reproduction of the dominant culture.