Friday, December 31, 2010

found: "higher! higher!", Huma Bhabha, Sofia Ajram

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Saturday, December 25, 2010

found: Avner Ben-Gal

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Friday, December 24, 2010

found: Kyoko Hamada, 'Dracula' (1931), Stefan Kübler


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Sunday, December 19, 2010

recent readings

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Animation and Animorphs – Norman M. Klein

On 'Street of Crocodiles' by the Brothers Quay: “Puppets are another species of ‘character’ than dolls. The puppet’s face is weathered, historicized: thoughtful, greedy, scheming. The doll, on the other hand, is merely a remnant of a childhood desire; it is a carrier, much blanker in expression, and clumsier in its expressive movement.” (34); “in the Quays’ film, these spaces seem to refuse narrative revelation. Their sum is a stop motion ‘parenthesis.’ It acts as if ‘contaminated’ by a lost narrative. Movement proceeds very slowly and precipitously, the way water leaves a leaky jug – but always in mid-morph: again, the anatomical scenes using cut organs from the butcher; scenes where heads are transferred from one body to another, from doll to puppet.” (35)

Meta-Morphing “At the Still Point of the Turning World” and Meta-Stasis, by Vivian Sobchack

“My own body quickens to its effortless transformations at some deep molecular level, and I recognize the morph as strangely familiar; that is, I feel ‘myself’ in constant flux and become aware that I am never self-identical (and possibly not even self-contained).” (132)

‘The Sight of Death’ by T.J. Clark

“Don’t we go back to it because we sense that in it is re-enacted a death or terror we would all like to experience again in this harmless, ordered, palliative mode?” (8)

“Many of us, maybe all of us, look at some images repeatedly, but it seems we do not write that repetition, or think it, once written, worth reading by others. Maybe we deeply want to believe that images happen, essentially or sufficiently, all at once.” (8)

“of moving in vision toward a place we don’t physically occupy – reinstates the distance, the interval between us and what we are seeing, which is the eye’s most consoling fiction. The eye assures us, against the evidence of the other senses too much of the time, that there is such a thing as space. It sets us back from our material existence, and offers us the world whole – empty, transparent, open to understanding.” (238)

‘An Ethics of Spectatorship: Love, Death and Cinema’ by Patricia MacCormack

“The screen forms a mucosal connective tissue with our bodies, and ‘we can no longer allow others to turn our mucous membranes, our skin, all our sensitive areas into occupied territories’ (Guattari, 1996: 31).” (130)

“ ‘The always already is only a cemetery where entropy rots matter away’ (Serres, 2007: 122) (132)

“Perception is limited to larger or smaller molar objects not affective intensities with which we enter into becomings.” (133)

“Spectatorship is not a structure but an event with certain functional properties which are more and less affective of extra-cinematic events.” (133)

“so thinking cinema as real is vital in reconfiguring subjectivity and modes of sensation-perception in our apprehension of the world from belief and judgment to creativity, imagination and ultimately love.” (134)

“The affective qualities consist of the possible-perceived, what the images might create and have created with us.” (134)

“Saturations of hue, sonorities, elements of art unmoored from their capacity to inform the spectator of the form and function of an image are aspects of cinema with which we enter into asemiotic participations.” (138)

“Cinema is not unreal escape, it allows us to explode into the world through unnatural perception of the human via a natural contract of dissipative and asignified-asubjectified relations.” (139)

“To love an image is to allow both vocalities of image and spectator to exist simultaneously, creating speech which is chaotic but not irredeemably so.” (141)
found: Anne Vanoutryve, Huma Bhabha, Gert & Uwe Tobias

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Thursday, December 09, 2010

found: David Ostrowski, Rory Dean, Greta Walker

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