Valeria Guy Germanicus School
Valeria Gai Germanika is a bright and talented person. It's amazing how one visual vector combines that very special vision that allows you to subtly feel people and the world around you, and at the same time, shocking and a large share of visual fear.
Valeria Gai Germanika is a bright and talented person. It's amazing how one visual vector combines that very special vision that allows you to subtly feel people and the world around you, and at the same time, shocking and a large share of visual fear.
An outside observer may not notice any contradiction: a shocking director - shocking works. After all, what she shows is provocative. In cinema, it has long been customary to shoot panties physically, we have all seen nudity on screens a hundred times, no one shouts for a long time that it is immoral - we have got used to it. But the emotional, mental nudity shown by Valeria excites the viewer more. This is a soul without panties.
You can exhibition not only with your body, but also with your soul. Frankness bordering on hysteria is indecent, but too often it is interesting. It is interesting even if we cover our eyes with our hands, peeping through our fingers, because we cannot help but look.
School. Stranger children
Valeria chooses school as a setting for her works twice. In artistic terms, Germanicus' school is a world that exists as a vanishing moment of the present, a world without a future. No one carries ideas and a broken penny, no one cares at all. And who does not care, he is simply unable to change something - due to ignorance, misunderstanding or under the pressure of "accidentally" organizing circumstances.
There are no negative characters in the serial "School". There are nice or not very people with their cockroaches, not always understandable, but very recognizable. Behind each character, behind each role, not (only) rational thinking is guessed with established stereotypes, there is something alive, convincing in them.
The series drew a flurry of criticism. The critics were offended by the way the parents and teachers were shown. The newspapers wrote: "… but we are not like that, we are different" … they asked: "What example do you set for the youth?" - etc. To say that what is shown has no place to be is to lie.
The one shown by Valeria is the real state of the modern young generation. Through her heroes, Valeria bares our common fear. How to protect your children? How to make sure that "my child" does not get drunk, does not go to prison or to a needle?
In one of the last episodes of School, an English teacher says that she got pregnant, that the baby was long-awaited, and that instead of joy when she learned about pregnancy, she felt anxiety and fear for the unborn child.
How to raise your children is a typical parental question. But we don't live alone. No matter how parents persuade that the drug is tasteless, that it can be bad, it does not help. Not trying drugs when everyone you know and love is trying is to say to the team: "Guys, I'm not in the subject, I'm a brake and a goof." Your teenager will be sick of marijuana, but he will smoke it, if it is accepted in his environment, if this is the system of values. And it is in this way that it develops much more often than we would like.
How to raise your child? This formulation of the question would be adequate if society as a whole were healthy and harmonious. From early adolescence, a child begins to move away from his parents in order to eventually be able to take responsibility for his life, and now the team is his educator, not parents and teachers, and in order to adequately educate one, all the others need to be led in the right direction …
But between generations there is an abyss, a gap. What can the older generation offer the younger generation? The old ideas about life are not taken seriously by young guys - they are different, and the world has changed. They look for new ones and try them on themselves with the sole purpose of enjoying life.
Here, at the School, everyone spits on everyone, and flaunts the teachers. Here classmates are bullied, ranked, acquire bad habits, try drugs, hate, envy, have sex - enjoy life in the most accessible ways, very enthusiastically, especially with regard to hatred.
The state of Ani Nosova, one of the key characters of the series, is very clearly expressed. In her example, the gap between generations is shown especially acute: relatives want to do something, but cannot, do not understand what the problem is.
Ani has a double top: sound and vision. She is depressed and hysterical, her image reflects the inner experiences of many adolescents with a sound vector. There is an episode in the series where Anya asks a chemistry teacher: "Tell me, is life always such shit or only at this age?" And although any viewer sees that she has a reason to ask such a question - there are circumstances of tense relations with peers, someone may guess: the situation is not in the circumstances.
The point is in the collective state of the sound vector: such sensations, such states arise in sound desire, when it remains inside, does not come to any of the possible forms of interest or enthusiasm in it, when it is not brought out.
In one of the episodes, Anya "jokes" at her classmates: threatening with a fake machine gun, she orders everyone to stand against the wall. This is NOT the joke of anal sound professionals such as Anders Breivik and Dmitry Vinogradov. For such sound specialists as Nosova is shown, the feeling of their own uniqueness is growing, up to a complete loss of connection with other people. For example, about how events might develop, you can read about almost any case of school terror. For example, about the incident at Columbine School.
The character of the unceremonious Ilya Epifanov clearly claims to be the urethral vector, but falls short - the image lacks precision in details. In any other vector, the taste for life outside is developed, it is given to the urethral from birth. Such an Ilya Epifanov could be a man in love with life without half measures. In general, we see only a troublemaker, albeit a nice Russian person.
The characters of Sonya and Vera are perfectly worked out. Both are very good anal visual girls. Through them, the problem of adaptation of children with an anal vector is shown, especially through Vera. For her, the lack of involvement in the common fuss, exacerbated by the pressure of the mother (good intentions), turns out to be so acute that in the end she refuses to take the last few steps to the gold medal, although for people of her warehouse it is a symbol of wealth, as for someone - “boomer "or" gelding ".
Probably the most recognizable and, in a sense, even the stereotypical image of the series is the skin-visual Olya Budilova. If Vera wanted to be closer to the center of events, then Olya is the center of everything that is happening (even if she did not accidentally get into the frame somewhere).
The hysterical Olya Budilova closes everyone on herself, she wants to be in the spotlight. Another Olya Budilova - sensual, emotionally involved, could be a muse: where she is, everything starts to move. And if the other Olya finds it exciting not a nightclub, but a poetry evening, then poetry has a chance.
Happiness for free, or love without steam
For a person realized in the profession of a director, it is very unusual for the presence of masochistic tendencies in the skin and a strong share of fear in vision.
But it is enough to recall Valeria's appearance or the incident with Polyakov's public exposure at the premiere of Entropy. And we can also mention participation in the show "Battle of Psychics", especially the episode where Valeria gets a tattoo ("Oh, it hurts, there is a bone"), after which she goes to psychic Mohsen for a private conversation.
True, the way Valeria showed herself when participating in the show has more to do not with shocking behavior, but with unformed emotionality, which allows for emasculation in euphoric swing.
Usually in system-vector psychology, for simplicity, we denote a person's state briefly: “developed - not developed”, “realized” or “not realized”, “full of love”, “in fears”, “in archetype” and so on. But Valeria's state cannot be described so briefly.
How can she be such a talented director with such fears? Some properties are more developed, some less. But there is also temperament. When the desire, concentrated in one lump of the human body, rushes in spite of everything, simply because it cannot help but overflow. Pret, because a person is desire, and to want is what it means to live.
When we need something from life and we roll up our sleeves and get to work, we have no shortages, voids - involved, we think about business, and not about an unsuccessful life. But when they are, then, going outside, realizing ourselves, we invariably bring out the shortages too, in the first place, we just cannot understand: "Where am I here?"
Modern Russian reality is shouting to us: "What for goat button accordion, be smarter, your shirt is closer to your body!" Or, in other words: "Spit on everything, you live once, live for yourself." But for some reason it turns out that we cannot live in such a way that the more we throw off our "extra burden", the worse.
Special vision
In an interview with Ksenia Sobchak, Valeria says that she puts emotional experience into her paintings, and then film critics tell her what she made a film about.
The creative potential, which Germanicus is undoubtedlyted with, is formed in the visual vector, through the periphery of vision. His expression bypasses the criticism of consciousness, it makes no sense to ask Valeria why this or that character acted this way and not otherwise, her ideas on this score will have little to do with reality.
The spectators are ready to eat emotionally significant things with their eyes from morning to evening. The pleasure that they receive while doing this is called the word "beautiful". There is beauty available to all - beauty of form and color.
The beauty of feelings is not available to everyone, but some spectators are able to dissolve in the feelings of other people - to get involved emotionally to the point of self-forgetfulness. In the semantic vertical of the visual vector, this state is called love. From it originates creative potential - the ability to distinguish a certain truth of life, to guess about internal forces hidden from a person in the unconscious - the forces of human desires through their external - emotional - their manifestation. Expressing them creatively requires skills that a person may not have. Valeria has them.
Lack of emotional involvement or its incompleteness is an internal state of the visual vector, which in system-vector psychology is called fear, since the opposite state of love is concentrated in the experience of the horror of death.
When visual emotionality, to one degree or another, realizes itself through fear, the emasculation of feelings gives relief from the discomfort of the fear of death - unconscious or clearly felt. Most qualitatively, sensual tension relieves laughter, but there are other ways - shocking, hysterics (preferably public) …
True, then the spectators naturally develop other states - a feeling of emptiness, melancholy, the more severe, the more the feeling was emasculated, burned up in the lights of the fun of the carnival night.
To implement such works that Germanicus creates, a strong charge of feeling is needed. Before the audience, Valeria appears in a completely different state, in a different form, and this leaves room for error - as if the owner of a very large and reliable bank in public would speak in thieves' jargon.
A movie about love
As one of the critics remarked, in "School", as in the movie "Everyone will die, but I will stay," the problem is shown, but not the solution. Valeria very clearly and accurately shows the internal state, but not the way out - to where people really need something, where people want to take responsibility, want to glue, create, build something.
In 2012, Valeria Gai Germanika's series "A Short Course in a Happy Life" was released, not so scandalous, but still standing out among the works of the same genre. As Valeria herself says, the main theme of her work is love.
And in this series, which tells about the life of skin-visual women in a big city, there is also a lot that is systemic. And the main character, who was flawlessly played by Svetlana Khodchenkova, and her friends, almost perfectly matched by the vectors of the actress. And what about the episode with a maniac who strangles girls. Here, the whole scenario of a skin-visual female running at night through a forest plantation in order to "cut the path" and her killer-strangler runs before my eyes.
In the world's works of culture and art, a lot has been said about love in the broadest sense of the word - from the desire to survive at any cost, to humanistic ideas and love for ideals and ideas. Many generations have been imbued with love of life through these works.
Thus, Anton Makarenko's “Pedagogical Poem” tells how young children fall in love with life, how strong, proud people grow out of street children. Although the spirit of this work is understandable today, for a modern person, like many others, it has little to do with reality.
Today, it will be fair to ask whether our directors and writers are capable of offering the ambitions and expectations of the younger generation a way out that is compatible with the life of society. While this question remains open. And Yuri Burlan's System-Vector Psychology offers a systematic approach to staging films and creating literary works. To register for free online lectures on systemic vector psychology, follow the link:
