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New PDF release: A Body of Vision: Representations of the Body in Recent Film

By R. Bruce Elder

Elder examines how artists resembling Brakhage, Artaud, Schneemann, Cohen and others have attempted to acknowledge and to exhibit primordial varieties of reports. He argues that the try to exhibit those primordial modes of understanding calls for a distinct belief of inventive that means from any of these that presently dominate modern severe dialogue. via remodeling theories and speech in hugely unique methods, Elder formulates this new belief. His feedback at the gaps in modern serious practices will most likely turn into the focal point of a lot debate.

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Extra info for A Body of Vision: Representations of the Body in Recent Film and Poetry

Sample text

A quotation, in the Greek language but transliterated into Roman characters, introduces the text. It reads: Tou holou oun tei epithumiai kai dioxei eros onoma. ") suggests that love's goals are integrative. Barker's epigraph comes from Aristophanes' speech in Plato's Symposium, perhaps the most famous discourse on love that Western civilization has yet produced. Aristophanes' speech offers a myth to explain the mystery of desire. In it, he explains to Eryximachus and his other companions present at the drinking party the real nature of human beings and the changes they have undergone.

If these two shots were viewed in isolation, we would undoubtedly take them as a delightful way of presenting the idea of the innocent delights of courtship rituals. But we do not experience the shots in A Movie this way— rather we respond to them as the pure presencing of another source of wonder, which we contemplate non-conceptually. We are, then, invited to experience the film on two levels. We can experience the film conceptually—as a series of images about a world on a death trip. But we can also experience it—and so much more affectively—as a object whose formal relations we contemplate in completely non-conceptual Films by Bruce Conner 31 mode.

Human bodies—or, at least, most bodies in their prime—are wondrous; but the body is also subject to dilapidation and decay. There is an alarming incongruity between the body's outer surface and its insides; our feelings of squeamishness alert us to the disgust we experience when we glimpse the interior of our bodies. Images of the body matter to us partly because the contradictions they expose in feelings towards the body furnish us with the means for thinking about the larger duality in our make-up, that between our nearly infinite symbolic capacities and our finite nature as a lump of fleshy matter.

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