By R. Bruce Elder
Elder examines how artists reminiscent of Brakhage, Artaud, Schneemann, Cohen and others have attempted to acknowledge and to show primordial sorts of reviews. He argues that the try to exhibit those primordial modes of knowledge calls for a distinct notion of creative which means from any of these that at present dominate modern severe dialogue. by means of remodeling theories and speech in hugely unique methods, Elder formulates this new notion. His feedback at the gaps in modern serious practices will most probably turn into the point of interest of a lot debate.
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Additional info for A Body of Vision: Representations of the Body in Recent Film and Poetry
His body is a material fleshy casing that is alien to him in many ways—the strangest and most repugnant way being that it aches and bleeds and will decay and die. Man is literally split in two: he has an awareness of his own splendid uniqueness in that he sticks out of nature with a towering majesty, and yet he goes back into the ground a few feet in order blindly and dumbly to rot and disappear forever. 5 Becker argues that everything that humans do in the symbolic world—the world of thought, ideas, representations, and self-consciousness—they do in an effort to deny and overcome this dual state whose grotesque character results from the individual being, as Becker states, "a small god in nature" and yet depending upon a hideously fleshy vehicle for her or his passage through the world, a vehicle that is distressingly subject to disintegration and decay.
Williard Maas: The Geography of the Body 39 To put an end to this Zeus, after much thought, decided not to kill, but to weaken these beings, by slicing them in half. "They can walk about, upright, on their two legs, and if, threatened Zeus, I have any more trouble with them, I shall split them up again, and they'll have to hop about on one" (190d). Aristophanes goes on to explain that Zeus did split them down the middle, stretching the skin from the back around the front to cover the wound, and tying it up at the navel "like those bags you pull together with a string" (190e).
The decontextualization is so radical that the image remains, in some degree, enigmatically resistant to thematization. Consequently, we experience each shot in A Movie more as an object that we appreciate for its formal qualities than as a shot that we can, by employing a concept, reduce to meaning. Conner strengthens the lure to this mode of experiencing by editing so that, generally, the similarities (or contrasts) of formal properties—kinetic and compositional attributes—constitute the most obvious relation between adjoining (or nearly adjoining) shots; the thematic association between the shots is secondary.