RE-IMAGINED: VIDEO GAMES AS CULTURE.

arcade mayhem productions writes: F 4 FROGGER http://es.youtube.com/watch?v=8KxyRkgvHXY&feature=PlayList&p=ADEB2117D5AF7306&index=0&playnext=1 Last Year the IVAM Museum asked me to do a video for one of the sessions at the IVAM Elektra festival. That was the genesis of a proposal that tried to create a dialogue between cinema as a mature form of expression and machinima, an emergent genre that uses videogame engines to make movies. The project assumed an absurd goal: to remake Orson Welles´ classic "F for Fake" shot by shot, featuring classic characters of arcade culture as the stars of the movie, understanding the whole framework of every arcade videogame as an actor. So, Donkey Kong as Orson Welles, Pacman as Irving, I´m Sorry as Elmyr, etc. Thus, from a recreational conception of art as fakery, the spirit of Orson´s documentary turned into an ironic reflection about its own medium, and asked for a dialogue open to (seemingly) not very respectful recreational aspects, but deep down committed to carry on the challenge projected by the very message of the movie. Above all, F 4 FROGGER is a homage to the original movie (which in the context of its own discourse involves a paradox already) developed over the nice simple classic shapes of videogames. The proposal not only tries to test the validity of Welles´ message, but also machinima´s expectations of becoming a genre with its own discourse. Still in its infancy, machinima tends to generate content by focusing on the accuracy of its representational techniques, while its discourse tends to be reduced to an insignificant terrain. The crossover between Orson Welles and classic Arcades forces the reduction of the representative option to the degree of the very iconic presence. Consequently, it may be clear the need to review machinima's intensive focus on the representative recreation of reality. The presence of classic arcade characters appeals to the audience by invoking a baggage that contains nothing less than childish illusion. Therefore, and just driven by the strong performing restrictions of these schematic characters, this "charismatic" presence as pure performance, projects the discourse onto unsuspected new meanings. The movie faces a mirror whose seemingly deformed reflection turns over itself. The more the good cinematographic manners of the original movie are violated in that reflection, the more Welles´s challenge (about the historic meaning of art as chain of collective efforts based on the "fake" meaning of culture) is fulfilled. The recall of our recreational sense updates the meaning of the movie by way of a display limited to an "auratic" relationship with the fetish. But at the same time, a veil of ironic indulgence is invoked from the childish territory, as it is extended over the unbalanced dialogue that emerges from such extreme poles. Perhaps we are talking about some kind of poetry.

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