By R. Bruce Elder
Elder examines how artists resembling Brakhage, Artaud, Schneemann, Cohen and others have attempted to acknowledge and to express primordial sorts of studies. He argues that the try and exhibit those primordial modes of expertise calls for a special notion of inventive which means from any of these that at the moment dominate modern serious dialogue. by way of transforming theories and speech in hugely unique methods, Elder formulates this new notion. His comments at the gaps in modern severe practices will most likely develop into the point of interest of a lot debate.
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Extra info for A Body of Vision: Representations of the Body in Recent Film and Poetry
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).
Cosmic Ray is made up of visual material of a number of sorts: a nude female dancer, whirling lights, both head and tail academy leader (the footage of numbers counting down and the words "Head" or "Start" and "End" that we see in home or school projections, but which expert projectionists usually hide from us), flashes, flares of the sort that appear at beginning and end of rolls returned from the film lab, cartoons, advertisements, and, most importantly as we have seen, war documentaries. Four sorts of constructions articulate Cosmic Ray's rhythmic form; the first combines to create the film's fundamental tension.
There follow a number of images that show various sorts of mishaps and various kinds of destructive or death-defying behaviour, mixed together with images that incorporate phallic forms to suggest the phallic nature of our destructive impulses. Further, several shots in the film invoke the idea of nature's pristine purity; but invariably, once that idea has been invoked, shots follow that suggest how a phallic technology wrecks destruction on nature. Deeper deliberations on the film's themes afford an understanding of the dark character of Conner's humour.
A Body of Vision: Representations of the Body in Recent Film and Poetry by R. Bruce Elder