By R. Bruce Elder
Elder examines how artists comparable to Brakhage, Artaud, Schneemann, Cohen and others have attempted to acknowledge and to exhibit primordial types of reports. He argues that the try to express those primordial modes of knowledge calls for a special notion of creative which means from any of these that at the moment dominate modern serious dialogue. via transforming theories and speech in hugely unique methods, Elder formulates this new perception. His feedback at the gaps in modern serious practices will most probably develop into the focal point of a lot debate.
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Extra resources for A Body of Vision: Representations of the Body in Recent Film and Poetry
This correlation adds to the ironies concerning representation. We do take pleasure in the portrayal of human beings, but we take pleasure as well in the speed of the shooting and the montage—and, what is more important, in the development of a holistic, integral form in a collage. We should remember, moreover, that the pursuit of the whole is itself a form of erotic desire. The Troubling Body of Sexual Difference: Williard Maas's The Geography of the Body Among films that present the anxious body, troubled by some sort of shame, are many that make synecdoche their basic trope.
This split left each half longing for its complement, Aristophanes explains. "When the work of bisection was complete it left each half with a desperate yearning for the other, and they ran together and flung their arms around each other's necks, and asked for nothing better than to be rolled into one. So much so, that they began to die of hunger and general inertia, for neither would do anything without the other. And whenever one half was left alone by the death of its mate, it wandered about questing and clasping in the hope of finding a spare half-woman—or a whole woman, as we should call her nowadays—or half a man.
And although we consider primarily The Geography of the Body's textual means, we shall find that the structures and relations we examine do not lock us into the register of the Symbolic; the experience of depaysement that the film engenders, by bringing us to experience the body as something strange and wondrous, shifts its content into the Imaginary register of fantasy and of marvel. Thus we make the interesting discovery that while the film is amenable to analysis by examining its linguistic means, the poetic forms the film uses shift the content of the film from the Symbolic register, which is the domain proper to language, to that of the Imaginary, a preverbal register.
A Body of Vision: Representations of the Body in Recent Film and Poetry by R. Bruce Elder