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L’Afrique de François
The bright video screen in Tiananmen Square showing images of blue sky during a time of dangerous levels of air pollution. January 23, 2013 in Beijing, China.
Le choc des images.
L’enfant obèse américain écrasant de ses bourrelets les côtes de l’enfant africain famélique. Le capitalisme monstrueux a son image d’Épinal.
Et pourtant, cette com’ digne d’une multinationale de l’humanitaire mets en scène ce qui pourrait être les deux faces d’une même pièce, d’une même condition, l’obsession de la bouffe.
Dans un cas, un prolétariat américain dont l’unique liberté est la consommation, mais pas n’importe quelle consommation, la consommation élémentaire, la bouffe.
Avaler, se goinfrer, gober de la substance pour avoir le sentiment d’exister, de vivre. Oublier sa condition de détenu d’un système où la liberté est devenue trop chère. La liberté d’aller et venir, la liberté de prendre son temps, la liberté d’arrêter.
Alors il bouffe à en crever.
L’autre face, celle de la conséquence directe du système prédateur colonial, où la richesse des ressources du sol n’atteint pas la bouche des enfants du pays. Le Club de Paris, resserrant l’étau de la dette d’un pays comme la Somalie, qui doit toujours payer, avaler la dévaluation, l’accaparement des terres fertiles, le dumping de l’industrie agro alimentaire, la spéculation sur les céréales. L’obsession de la bouffe ici, est celle que l’on voit pousser sous ses yeux et que l’on ne peut pas toucher.
La famine et l’obésité, les deux faces d’une même condition, où l’humain n’est plus qu’un corps que l’on remplit ou que l’on vide.
La vie saine dans un corps sain, un luxe, un privilège pour qui a du temps de l’espace et de l’argent.
Et ainsi on apprend que L’obésité tue trois fois plus que la faim dans le monde, derrière l’hypertension, le tabagisme et l’alcool.
Ici un tableau sur la population de Lille :
” You go mad with realism and then you come up against someone like Stanley who says Yeah it’s real, but it’s not interesting ” Jack Nicholson
There is something great in filming fake reality
Bits of David Simon in Paris
The two books that inspired him on how to write Homicides are the Soul of a new machine by Tracy Kidder and Ball Four by Jim Bouton. Both are based on a story of a year among a group of men. The first one, among a computer engineering team, and the second one, with a baseball team. It’s about the pressure that these people are going threw and how each one deals with it. In Ball Four, it’s also about the American baseball player icon, seen threw the description of the life of a bad player in a losing team.
He spent a year, which he will realize would be the best of his life, in the Homicide team of Baltimore, just after ending his first marriage. He will spend 2 years writing this book about this one-year experience.
Surprisingly, the Homicide Team gave him a free access to everything. He saw 172 homicides scene. He still remembers exactly the first crime scene. The name. The bullet in the left eye. The unpaid gas bill. The drawing of the kid on the fridge. The coke and the rice in the draw. A friend of the victim who came and admit dealing coke with him, but didn’t have a clue about who shot him and why.
The other 171 he doesn’t really remember. Because “murder becomes quite ordinary. That’s what the book is about”.
The hard part was to be accepted among the team of policemen. They were not happy to have a reporter among them. So during 6 month, he let them make fun of him, played the fool, and went threw all the jokes and stuff they could come up with. After that, he was accepted.
“ Baltimore is a bit like Marseille”.
Laughs in the audience.
David Simon looks at the audience, seriously.
“Baltimore used to be the third largest port of the world”.
The 20th century’s American urbanism, and Roosevelt’s highways emptied Baltimore’s downtown. “Money went to the suburbs”.
“So for you Roosevelt may be a hero but for me…”
For him, American investors should have said to their partners, in developing countries, where the factories are today, we will deal with you if the collective interest of your workers is represented. He doesn’t want the Capital to win, nor the Union. “ I want the Union to fight Capital always.”
“Union” did he say, loudly.
“I was told here (Ménilmontant) used to be a labor neighborhood. Karachi, in Pakistan, used to be a population of 400 000 people. Today it’s 21 million.
So, either we manage to live one on top of the other, with all the multicultural diversity, or we are fucked. “
Talking about Treme, he said one thing that America did bring to the world, is jazz. And Jazz was born in Treme. Around height blocks, that’s where it started.
Unlike Gonzo journalism, where the narrator is part of the scene, David Simon in Homicide, stays outside, describing, letting the characters be.
The difference between writing a book and cinema is that “ when you’ve bought a book, you’ve made a commitment”. It doesn’t matter if you take 3 or 4 chapter to describe the context. “Most of you will read the book to the end”.
But on television, “they are terrified that you change the channel at the commercials”.
So the show has to be sexy, with action, porn, violence and make you feel like buying stuff.
But he managed to convince HBO to do it differently, and now “there’s a small space in TV where you can actually do decent things.”
And then, “how can you convince people to buy shit if you just put them down”, if you just showed them that no the world isn’t ok.
He always wanted to become a newspaper writer. But one day, in the middle of the streets of Baltimore, on a shooting day for the Homicide series. People of Baltimore got use to seeing the filming each day, and were quite happy about it.
That day, in a middle of an arrest scene, a guy came out of the block, running full speed. He stopped. Watched the scene. The cops. The commissioner. Put his hands on his head and said “Fuck”.
Then the pharmacy security guards arrived. The scene astonished them. They went to the guy and took back the furniture he had stolen. They handcuffed him and gave him to the police. The actors, performing the policemen, continued acting until the guards left.
When he saw that, David Simon said to himself, there’s something great in filming fake reality.
Puisque Marseille semble effrayer la chronique, un joli condensé de clichés sur “la race de Frédéric Mistral “, du Pagnol à Belsunce, s’essuyant les pieds au passage sur “la cité” et Noir Désir. Un slam comme un discours de Muselier chez les dockers.
Et deux très bons documentaires :
Et deux livres
Attention à la fermeture des portes ! de Jean-Stéphane Borja, Martine Derain et Véronique Manry
Histoire Universelle de Marseille de Alèssi Dell’Umbria