Pink Pelicula Wall

Rose, Phil 2002: Which One’s Pink? An Analysis of the Concept Albums of Roger Waters and Pink

Floyd. Burlington, Ontario: Collector’s Guide Publishing.

Phil Rose’s 2002 analysis Which One’s Pink? Rose concentrates his argument on Pink’s individual

psyche, on how it goes to the extremes of narcissism, obsession and schizophrenia until

it expels the ‘bad objects’ he had previously incorporated and is finally able to establish

normal relationships with others.11 The present study transcends this confinement to

the private sphere of Pink’s mind to offer a detailed analysis of how the protagonist’s

predicament equals the Nation’s predicament.

The Wall refers to and is part of this historical scenario, in which we find Pink,

clearly Roger Waters’ fictional surrogate, placed at the very beginning of the cinematic

story-line and in the present dimension of the cinematic discourse. The film starts with

a slow and smooth ‘travelling’ through an aseptic and uniform hotel corridor towards

the figure of a cleaning lady preparing her vacuum cleaner ready to enter the suite

facing her. Behind the door of the room, the wall that protects him from the outer

world, we find Pink in a state of depressive and tormented introspection, revisiting his

past. On his bare wrist he wears a Mickey Mouse watch, a time image representing

some unsolved childhood conflict that has a bearing on the present situation.

the present

of the concert of Pink’s band in the United States (a frenzied mob at the concert venue

bringing down gates, shouting and running wild) and an imaginary re-elaboration of

Pink’s own encounter with the audience attending the concert (those American youths

listening in astonishment to a fascist-like Pink who orders them to look into the

alienating and oppressive reality hiding behind the ludic and stultifying vertigo of a

rock and roll concert).

The consequence of this is ‘the wall’: that is, discontent,

frustration, materialist fetishism, isolation, narcissistic introversion, disorientation,

vacuous hedonism and irrational (self-)aggression

While the open field of the possible past(s) imagined by Pink is being invaded, we

hear the song ‘Comfortably Numb’. At the same time and in the present dimension,

Pink’s agent and his team break into the hotel room bringing along with them a doctor,

or someone who looks like one (se pierde en su delirio)

The British crowd is

stirred by the dictates of a providential and vehement leader and is ready to undergo a

process of purgation. In a Hitlerite attitude, this imaginary Pink has supplanted the real

Pink to address the mass and urge them to wake up from their stultifying hedonism and

show their adhesion to him (se pierde en su delirio de q el padre esta vivo y hay q sentir obediencia y culpa

ut in the historical present as represented in The Wall, this

symbolic father had been killed in a war won by savage capitalist forces. Pink confronts

two modes oppressive authority, the second being subsidiary to the first, which is the

dominant one: the maddening, uncontrollable and relentless movement of capitalism

and the possessive and castrating mother figure who contributes to her son’s

subjugation to the incessant dance of capitalism

Pink is racked with guilt and never receives compensation in the form of love from

the social order in which he is inscribed. Guilt is the cause of his seclusion within

himself.

Con el fin de liberarse de la pared, debe deshacerse de la sensación de que en

una vez que lo

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