Monday, 22 April 2013

We Are Northern Lights and Rantin (Introduction and parentheses)

Time to get the Vile Arts on point for the summer season, I think. Nowhere better to start than with typical faux-political opinions. Saw Kieran Hurley's Rantin last week (although, as always, impressed by early comment within play that this work was made collectively, Hurley making a point about how his theatre is collaborative). Had that politics I respond to so readily: not party political (although that may lurk, unheeded by simple critical emphasis on aesthetics). Then received release for We Are Northern Lights which, I guess, shares something of Rantin's interest in picturing the national identity not through out dated ideas of state and cultural but through a survey of diverse individuals and perspectives. 

(Natural or instinctive disdain on my part for any nationalism that is based on theory or geographical ancestry is countered by these "state of the country" missives, not least because they often refuse to make a grand statement of intent... either work could be put to the use of autonomous zones or regionalism. I'll still shout "Wessex Forever" before demanding any new evaluation of where we ought to put the customs houses.)

We Are Northern Lights was made by Nick Higgins, through workshops and a "myriad of different lenses – those of the Scots themselves." Cineworld spotted that its early showings, including one at the Glasgow Film Festival, were sold out and had some of the audience sobbing, so have decided to slot in a run across Scotland, between the popcorn shifters.

(Luckily, I can now go to see Iron Man 3 and pretend I am in to see the micro-budget documentary, thereby letting me indulge my love of superheroes and hold onto my credibility as a supporter of grass-roots projects.)

(Although this is an example of an international chain being supportive of radical film, and that confuses my knee-jerk anti-corporate attitude.)

(I thought a political blog would be an easy way back into blogging. I ought to have stuck with the defense of Christianity I pulled. Less complicated, if more controversial.)

(However, both the film and Rantin remind me that the arts are far more interesting places to think about Big Idea, like national identity, than the political domain. I know Alex S is all cool now he admitted to liking some science fiction at the GFF, but I know who has the more nuanced opinions...)


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