This type of cinema, which manages to escape the reductionist machinery of the system, or fits itself into the distribution channel of it, is always a complex cinema. I should like to call it, a cinema of complexity. I would even take my argument further and posit the cinema of complexity the type of cinema that can be a medium of transformation.
In other words, a form of cinema that potentially becomes a dissident cinema and teleologically works towards social change. (..) In todayâ€™s so-called free market economy even the dissident cinema finds a place for exhibition and global access. It seems planetarism is turning the tables on globalization (Habermas, 1985, Morin, 2001). This begs a series of questions, â€śIs cinema of complexity: dissident cinema the next great movement in cinema? As powerful as the French New wave? Can the status quo be challenged by this cinema to the extent where people will ask for social justice, and get it?â€ť Has humanity evolved to a point where we will do more than just watch?
The culture industry in this country carefully avoids the tough questions. While selected individuals can be criticized and presented as the â€śbad applesâ€ť the world order itself is not questioned by the culture industry (Morin & Sellenave, 2002). We are led to believe Israel is beyond reproach, capitalism is natural, globalization is inevitable. Wars are necessary to protect our freedom and bring democracy to the barbarians, and so on. (..) The truth is that globalism-not to be mistaken for globalization-is making the world a smaller place where citizens of the globe can have access to variety of perspectives (Nicolescu, 2002). We want to include the excluded middle. Cinema of complexity (i.e., dissident cinema) is interested in humanity to live in a planetary age where â€śdifferenceâ€ť is celebrated and people can agree to disagree, non-violently. Dissident cinema promotes dialogue and refuses to bomb anyone into submission.... Read More