TFX – THURSDAY, OCTOBER 19 – 9:05 p.m. – FILM
With the adaptations ofHarry Potter or Twilight, readers and spectators fond of adventure sagas for young people have become accustomed to seeing the last episode duplicated when it comes to the screen. More or less justified given the density of the narrative material, the practice offers variable results, sometimes suggesting a primarily commercial motivation.
Emblems of a civilization stabilized by terror, the Hunger Games ended forever, on a bitter note for the Capitol government. Openly defying President Snow, Katniss Everdeen, victorious at the Games, disappeared from the scene while her companion in misfortune, Peeta, remained hostage in the Capitol. From District 13, which is preparing underground for revolt, Katniss agrees, despite herself, to become the face of the insurgents, and to lend herself to a propaganda campaign. But President Snow, who has resources, decides to make Peeta the voice of his camp… From official television channels to pirate programming, from one screen to another, the two former allies clash.
Few fights
Hunger Games. The revolt knowingly runs the risk of leaving the most impatient of its spectators hungry. The film is sometimes more of a war picture than a story. But he has many things to say. Committing more to the staging of media power, it presents itself as an art of war within the reach of adolescents – or rather, an art of the call to war. Each side seems to devote more energy to filming propaganda clips than to training in the use of weapons. Combat scenes in the physical sense are few in number: the real battlefield takes place within the narrow frame of a television screen.
Elaborate costumes, tight framing, written or improvised speeches, television interviews or war documentaries, a whole dictionary of media manipulation is developing, further refining the already abundant material for debate that the saga offered to the adolescents to whom it is destined.
Magnetized with as much vigor as ever by the singular playing power of Jennifer Lawrence, Hunger Games. The revolt However, in dissecting the art of staging, do not neglect its true nature. A few images of Katniss’s home district, reduced to a mass grave after her defiance of the authorities, two scenes of desperate assault against the armed forces, are enough to keep in mind the real issue of all this game of screens: transformed or transcended by television experts, Katniss and Peeta, the two star-crossed lovers of yesterday, only speak the eternal language of the call to arms by inviting the flesh to the meeting of the screen.
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