IS THERE HOPE FOR APSURDISTAN?

Semiotic analysis of Apsurdistan's coat of arms

The cover of Dubioza Kolektiv's album represents the coat of arms of the country of Apsurdistan. This country does not necessarily represent a geographical area but a mental and a social state, although band members base their lyrics on the situation in Bosnia and Herzegovina. The picture depicts all the problems encountered in this country described in songs, not only on this particular album, but on several other ones. 

The use of different motifs and juxtaposing seemingly opposite symbols represent the absurd of the country where most of the people live. In this short analysis I will try to give certain explanations of symbols and motifs used in the coat of arms.

At the very top of the emblem there are two symbols. Hammer and sickle and EU stars. One representing the former system and the other representing the present or the future one. Apparently opposite systems seem to co-exist in Apsurdistan, and even though both have their good and bad sides it seems that Apsurdistan somehow picks up only the bad ones. 

Four religious symbols represent the groups people usually place themselves. People feel the necesity to belong to a certain group, and religion is one of the criteria. The absurd occurs when the members of one religious group, or one ethic group, have the feeling of superiority over others. Equally important absurd is the one when the differences between the groups, usually based on stereotypes or tradition, become emphasised when the stress should be on the unity of people who share the same environment and problems. One Dubioza's verse perfectly connects these religious symbols with the fork and the knife: "Just keep praying for your religions, it  doesn't matter if you have anything in your fridge or not." (trans: I.M.)

The two rifles placed next to the fork and knife represent the everyday life in Apsurdistan, easily described as the powder keg.
One of the rifles is pointed to the hummingbird. A bird which is usually a figure of peace and love.

Sheep and an ostrich. Both, obviously, represent people of Apsurdistan. Sheep, animals that are easily manipulated with, and even if they get wings they do not stand a chance. Ostrich, an animal which, it was believed, bury its head in sand to avoid danger. Even though this myth is proved wrong, the metaphor is still there. People of Apsurdistan bury their head, play dumb, but in this way they expose their whole body.

A football. A football stands for the old Latin phrase: Panem et circences. The superficiality of Apsurdistan people presented easily through this symbol depicts another issue. People will be happy if you give them bread and games, but the inhabitants of Apsurdistan often lack the bread part. 

At the bottom of the emblem two plants are juxtaposed. Ivy and canabis. The latter one usually sybolises fight against the repressive system and revolution while ivy is considered to be the symbol of friendship and eternal life. Ivy also climbs towards the sun. Both plants can represent the power of growth and can give hope for people of Apsurdistan. People should fight, think and strive. Use their minds and have souls! That's the only way to reach the light.

"THANKS FOR THE WINGS"

It's a Wonderful life

(1946)

Director: Frank Capra

Capra was a populist, and the simplicity of his narrative structures created a mythical America of simple archetypes who; with their wit, humor and casualness; evoke emotions in every viewer. Big social problems are represented through scripts in which an every-man, the man next door, fights the corrupt political bosses, mean industrialists and social villains in general. Capra was an immigrant who fought for his place in the film industry by believing that the movie can evoke passion and emotion of the workers, he wanted the newdeal-audience to like him and his movies. He usually moralized about political and economical problems but he always personalized those issues and associated them with a single everyman. Although these social problems were presented through one man; this was Capra's way of engaging the viewer and making the viewer identify with the character. This is how the issue was transferred from one man to the collective and this is what gave the issue a broader social dimension. 

In the film It's a Wonderful Life happy ending is enabled only with the interference of the supernatural which implies the doubt and the impossibility of the individual to keep the independence and one's own will in the society. That is why the protagonist of the movie (George Bailey) fits in the profile of a melancholic hero, the one who wishes to fulfill his dreams, but he is helpless from all the commitments, obligations and situations. This conflict leads the protagonist on the edge of committing suicide and supernatural motifs enable Capra to reveal the dark representation of a province as a peak of alterations between optimism and desperation that shape the movie.

The director of the movie took the title from a Christmas card which perfectly depicts his sensitive and fantastic way of describing the simple courtesy and politeness of the American provincial society. The movie represents the inner struggle between protagonist's dreams and ideals and the situation around him, it is ably shown through close-ups. 

Although some can describe the movie as sentimental rubbish, I consider that the movie is actually a beautiful combination of lovable, funny scenes and the ones that are touching and melancholic, with a happy ending and a beautiful message of the importance of the everyman. This is also a very clever criticism of the society and political corruption.

It's a Wonderful life is a beautiful realization of the saying What goes around comes around (in a good way here) with a perfect inscription "Dear George, remember no man is a failure who has friends. Thanks for the wings, Love Clarence." 

'TRAGEDY AND FIESTA'

SNOW WHITE

- BLANCANIEVES - 

(2006)

Director: Pablo Berger

Black. White. Silent. Fairy tale. Dwarfs. Bullfighters. All of this in one movie, Berger's Snow White. 

This beautiful and picturesque adaptation includes motifs and symbols from more than just fairy tale. Including different stories and myths and excluding language and dialogue the director made this movie universal. 

With people's faces, expressions, eyes and carefully selected music the director manages to evoke emotions without uttering a single word. 

Every fairy tale is based on the contrast between good and evil, so is this one. In director's words: "The contrast of black and white movie simply represents the contrast between darkness and light, love and hate, good and evil, tragedy and fiesta."

TOO LUCKY?

MATCH POINT

(2005)

Director: Woody Allen

The man who said "I'd rather be lucky than good" saw deeply into life. People are afraid to face how great a part of life is dependent on luck. It's scary to think so much is out of one's control. There are moments in a match when the ball hits the top of the net, and for a split second, it can either go forward or fall back. With a little luck, it goes forward, and you win. Or maybe it doesn't, and you lose.

These are the opening lines of Allen's movie of luck and guilt, movie of passion, temptation and  obsession as the movie poster says itself. Lines spoken by the protagonist Chris, a character who changes from a self-confident but likable person to a cold opportunist. These lines illustrate the main topic of the movie. Being lucky rather than being good. The motif of the ball hitting the top of the net becomes the key motif in the movie giving an intriguing twist towards the end of the movie. 

Being lucky instead of being good is how the protagonist, or the antagonist, perceives life. "You have to learn to push the guilt under the rug and move on, otherwise it overwhelms you." These words illustrate how he works, he manages to push the guilt under the rug with luck on his side. When the ball/ring falls on his side the viewer must ask Isn't he a bit too lucky?

INCEPTION - BEFORE IT WAS COOL

THE DISCREET CHARM OF THE BOURGEOISIE

Le Charme Discret de la Bourgeoisie

(1972)

Director: Louis Buñuel

This surrealist social satire focuses both on its content as well as its form. 

The movie mocks the social habits of the bourgeoisie. Their special way of sipping martini and their false social graces. It presents us with a funny scene where a fancy coffee place runs out of coffee, tea and milk, and doesn't serve alcohol.

It displays the hypocrisy of the high society which deals enormous amounts of cocaine but abhors the sight of marijuana.

They consider themselves the ones with proper social graces while some of them have love affairs with another person from their group.

The movie doesn't stop there. It mocks the church, the police, the military, the diplomacy...

All of these contents are presented in an oneiric atmosphere. Dreams intertwined with more dreams all of which make the protagonists uncomfortable and all connected with the scene of the group walking in the middle of nowhere probably heading nowhere. 

"...CREATED OUT OF INK, PAPER AND IMAGINATION"

RUBY SPARKS

Directed By: Jonathan Dayton , Valerie Faris

(2012)

Cute and magical romantic comedy about a young writer Calvin and his creation Ruby Sparks. 

Although this movie comes down to two quotes; which are 

commonly used when talking about love and relationships - that they almost become cliches; it is still one charming and disarming love story. 

"If you love something, set it free. If it comes back, it is yours. If it doesn’t, it never was." 

Calvin tries to shape his perfect partner, but every time he does that his love goes to another extreme. When she acts differently from his expectations Calvin changes Ruby and molds her into his perception of an ideal. He fails every time. He doesn't manage to put her in a cage of his concept of a perfect woman. He sets her free, he does not try to control his destiny any more, and destiny returns him a favor. 

"We come to love not by finding a perfect person, but by learning to see an imperfect person perfectly."

The movie brings a message of true love as a relationship where both sides embrace the other person completely, with his/her imperfections and differences between the sides.

GROWN-UP-KIDS' KINGDOM

MOONRISE KINGDOM 

(2012)

Director: Wes Anderson

Moonrise Kingdom, a film about love and revolt is based on the contrast between two worlds and their clash. The world of adults and the world of children. 

Adults in this movie are the antagonists. Not because of their viciousness or ill-temper, but because of their incapability. A scout master loses his scouts; parents are completely incompetent when considering the upbringing of their children. 

On the other hand, children are clever and adroit. Even though one can question the correctness of their actions, most of the times it seems that kids know better than the ones who should be their role-models. The thing that makes us laugh is how these kids embody adulthood and childhood in such an overwhelming and charming way. 

Diverting story, exceptional imagery, enjoyable atmosphere of the movie and lovable innocence of main characters keep a smile on viewer's face throughout.