The inspiration for “Happy Birthday Woody Allen, And Keep Going!” came to Mr. Zawislak while in New York City completing an art project which featured a temporary art installation of his original art piece: “Allen Gum” in Times Square. 

 Technological evolution has enabled the emergence of recording life in an almost direct form of its reflection. The tempting imperative to agitate the human figures ossified in a photograph, and initially frozen in the shutter of an apparatus, nowadays, adopted the dimension of the global process of social communication. Different types of portals are trying to surpass the pictorial information chasing the commercialization of mass media. An era of tabloidization has dawned, changing the visibility of the image. It’s harmony is no longer substantial, the quality of the implementation does not count, but only the random moment of recording the event itself. Images transformed into films, and technology developed to such an extent that almost everyone carries a miniature cam, hidden in the super-phone’s tools. A change in perception caused us to accept, without much trouble, the aesthetics of motion picture. Giant server farms gather the life and achievements of human civilization into their memory. The line between personal memory and collective memory has been blurred. Most of our activities are being made public and, increasingly, even our most intimate moments. One might then ask: What about cultural memory? Again, we are becoming a pictorial society. It is no longer words or sentences, but moving images, which bestow a multitude of different interpretations, uncovering the layers and that which in them is viable, and from its essence, elements that are tuned into one another assemble. But not just images, also sounds, words, and music, united into one medium - film. A medium, which replaces, or at least shortens the border line between the real world and its reflection. And although, it only slightly modifies daily life - slightly coloring it, simultaneously it can not overly depart from it, as to not arouse an impression, missing the model recipient. And here, finally appearing, a statement cited by Woody Allen: "Ilove being reduced to a cultural stereotype". But that’s how the media is, illusorily portraying life, full of stereotypes. In one of Allen’s most renowned films "Manhattan", his hero criticizes television, which has been lowering requirements systematically for years. If that’s the case, how is it possible that Allen’s films are present not only in theaters, but also on television? Well, he portrayed a character that is emotionally unstable to a great extent, neurotic, prone to anxiety, ideally fitting the stereotype of an artist. Allen irradiated our mind by creating complex metaphysical scenes as well as scenes that converge symbolically, whose illusory simplicity does not predispose it to obtaining the depth of the expression and that's why it acquires this meaning. Concurrently, Woody Allen became the creator and the material. By embalming himself in his films, he gave us a simple message, how not to undergo atomization. We exist in a world of immanent illusion, embraced by an optical dimension. Driven by consumerism resulting from unmet impulses, inherent in the aporia of social communication. Fortunately, in time, I managed to avoid atrophy - by finding myself on the other side of the screen. I was able to consciously refer to the cultural resources of art as a postmodern absorber of sensory reality. At least in my case with the preserved, after all, peculiar sovereignty of the language of film. In 2011, I began a deconstruction, whose basis was to become acquainted not only with the works of Woody Allen, but also with his personal life, permeating into the realized films as well as the work methodology regarding their creation. Just to, in the light of personal reflection, produce a film for Woody on the occasion of his birthday on December 1st, 2012. "Happy Birthday Woody Allen and Keep Going!" was presented in New York. In this film, independent filmmakers expose the mechanism of the individual economics of inclination, controlled by media companies and their legal departments or the more or less bloodsucking offices, as they realize the hallow objectives, namely the aforementioned film. Once again, reality is transferred to film and the director, like Allen, embodies the character of one of the heroes. The inherent driving force is represented by the "patrons" of cultural industry, personified as popcorn vendors, which as an appetizer to cinematic work, becomes a motive for its formation. Another exchange of the situation ensues. It is thanks to the profitability of the production of this addition that the film emerged, to further increase sales revenues. However, pseudo-heterosexuals kidnappers, with their faces veiled in cloth colored like a rainbow, stand in the producers’ way, and in addition, they parade about in tight golden shorts. It is them who intend to kidnap Allen, so that he may write a special musical screenplay for them. Characteristic Mossad agents were not lacking, departing on a mission to protect the cultural icon that is undoubtedly Woody Allen. I could delve further into the semiotic analysis of the film, but it will only be one of the possible versions. So I will cease in this moment, and invite to the screening, as each new reconstruction will be a different interpretation and implementation. Reviving a new in front of the spectators' eyes.

Contemporary Zelig