<\/p>\n
LA FICCI\u00d3N COMO REGISTRO [Found Footage Inmobiliario]<\/strong>. Ficci\u00f3n Inmobiliaria<\/em> recopila material formado por pel\u00edculas de ficci\u00f3n donde las problem\u00e1ticas asociadas a la cuesti\u00f3n de la vivienda aparecen en la trama principal o cruzadas con \u00e9sta. La ficci\u00f3n rara vez trata sobre lugares; en la ficci\u00f3n importa la historia. Pero si atendemos a la localizaci\u00f3n, sin dejar de prestar atenci\u00f3n a la trama, podremos acceder a parte del conocimiento f\u00edlmico<\/em> almacenado en la imagen audiovisual. Analicemos ese residuo de conocimiento objetivo del contexto filmado:<\/p>\n Algunas ciudades resultan un escenario paradigm\u00e1tico para las tramas inmobiliarias. Nueva York, Londres o Los \u00c1ngeles<\/strong> son escenarios en transformaci\u00f3n constante, de los que algunas pel\u00edculas suponen un registro de lo que borr\u00f3 el progreso.<\/p>\n \u00bfQu\u00e9 queda hoy del edificio que consigui\u00f3 resistir a la demolici\u00f3n gracias a la ayuda de unos peque\u00f1os platillos volantes en Batteries not includes (estrenada en Espa\u00f1a como Nuestros maravillosos aliados<\/em>)? Dado que la historia transcurre en un edificio solitario en medio de los escombros<\/em>, explicaba el productor Ronald Schwary , ten\u00edamos que encontrar un terreno bald\u00edo con edificios quemados alrededor. Finalmente nos decidimos por un edificio real en la 8th Street entre las avenidas C y D en el Lower East Side de Nueva York<\/strong><\/em>. El edificio ya no existe. En su lugar se encuentra hoy la subestaci\u00f3n de la Oficina de Vivienda<\/a>, en un entorno bien diferente. El Lower East Side<\/strong> ha sido el escenario de grandes transformaciones urbanas.<\/p>\n Pocos a\u00f1os antes de la filmaci\u00f3n de Batteries not includes, ese mismo escenario fue testigo de una fuerte alianza entre la industria cultural y mercado inmobiliario. Comenzaba el proceso de gentrificaci\u00f3n del Lower East Side<\/strong>, acompa\u00f1ado y potenciado por una r\u00e1pida mercantilizaci\u00f3n de la subcultura local. Downtown 81 es un caso singular: una ficci\u00f3n representada por los mismos protagonistas de la vida real. M\u00e1s interesante que su biopic<\/em> Basquiat, esta ficci\u00f3n deja entrever cierta consciencia del artista instrumentalizado. Sin duda, no la suficiente, como ya manifestaran coet\u00e1neos menos marketinianos: Por m\u00e1s contracultural que parezca su pose, la usencia total de auto-reflexi\u00f3n pol\u00edtica conden\u00f3 al arte del Lower East Side a la reproducci\u00f3n de la cultura dominante<\/em><\/a>.<\/p>\n http:\/\/vimeo.com\/museodelosdesplazados\/ficcioninmobiliaria<\/p>\n <\/strong>THE FICTION LIKE RECORD<\/strong> [Found Footage Inmobiliario]<\/strong><\/em>. 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<\/em> stored in the audio-visual image. Let’s analyze this residue of objective knowledge of the filmed context:<\/p>\n Some cities turn out to be a paradigmatic scene for the real-estate plots. New York<\/strong>, London<\/strong> or Los Angele<\/strong>s are scenes in constant transformation, of which some movies suppose a record of what erased the progress.<\/p>\n 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)<\/em>? 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<\/strong><\/em>. The building already does not exist. In his place one finds today the substation of the Office of Housing<\/a>, in a different well environment. The Lower East Side<\/strong> has been the scene of big urban transformations.<\/p>\n 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 gentrificaci\u00f3n of the Lower East Side,<\/strong> accompanied and promoted by a rapid mercantilizaci\u00f3n 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<\/a>.<\/p>\n