By Aaron Sheley
Philosophical Advisor Jason Sheley
TEXTUAL STRATEGIES
I—PLATO—REPUBLIC X and ION
For all intensive purposes, the easy way out of the PLATONIC paradigm is to
write him off as an anti-art bigot. There is no summation of equal or
oppositional parts that create a whole—Only an over-driving goal at an
aristocratic society that are favorable to “God” or “gods” and “countries” or
“war.” Yet the unanswerable question in ION opens the metaphysical hotbed: Does
art have to be based on lived experiences or collective memories, hallucinations
of the invisible forms that appear only to those that break free of idealism.
(The irony is that in his explanation of philosopher-kings, he stoops to the
idealist high ground.)
II—ARISTOTLE’S POETICS—
Without a mis-interpretable context, Aristotle categories art into 3 directly
assimilating principles
1- KINESIS—energetic release of artistic impetus—
2- MIMESIS—a struggle for realism (in this case in particularly--)
3- CATHARSIS—the effect of disengaging from a work’s effort to maintain a
purgation of an audiences vested interest in the core value of the art (be the
values understood plainly or figuratively)
Imperatively, this approach to the arts employs differentiation and in
summation, to review ‘energetic, realistic, displacement and a nice long walk
–PERAPAETESIS
III—HORACE—THE ART OF POETRY
LATIN HEADING DEFINED
1. Humano capiti cervicem pictor equinam, loosely: Men equally understand the
point of a picture (Herein is the key to Horace’s broad strokes of diction and
automatic flow of pensive and circumstantial evidence in self-reflexive poetry
and prose)
IAMBIC DEFINED
2.”Averse consisting of six full-fledged IAMBIC stresses…(Known) as iambic
trimester.”
a—an iambic stress is like a syllabic pattern in which Latin phrases (or the
translation of, follow a pattern of syllabic number codes and in a ‘Shakespeare
sonnet’ rhythmic patterns factor in – as is the oft mistranslated HORACE…
IV—Longinus—ON THE SUBLIME
I. Longinus efforts the task of stripping down outside elemental
Forces that distract, subtract and mediate the phenomenon of the sublime—
A. Through a structural negative unity, he defeats negativity as an example of
reckless encounters with the anti-sublime.
II. Sublime poetics are counter but not separate from:
A. Hyperbolata—(exaggeration)
B. Pleasure—(beware of too much of a good thing, though)
C. Music, Rhythm and Dance
(notions that are always subliminal.)
III. ‘Sublime’ is unaltered by immortality, mortality, forces of nature (good or
evil) and once the imbalance of an extreme over another is reconciled
sublimation as a possibility
V—PLOTINUS—On the Intellectual Beauty
I. Connotes Examples of 'a priori'—a term defined simply as pre-investigation of
Ideas, cosmos and sign posts in mental thinking
Ex: Plotinus deems the world as round and it recreates his artistic vision in
knowing such
II. Wisdom invited in a SPACE, TIME and FORMAL approach
Ex: Plotinus hearkens back to a simplification of absolute ideas and context
dependent upon the changing of the priority of the critic—discover beauty and
transcend the norm through a polytheistic/monotheistic device of evolving,
energetic machinations.
VI. LETTER TO CAN GRANDE DELLA SCALA BY DANTE ALIGHIERI
In this brief epistle, structure and form, belie a radical position of formal
intensity to ratify what Kantian philosophy considers as a critique or Husserl’s
fact evaluation of well-placed contextual metaphors that drive the elemental
passions of a developing art form that embodies its own self-critique.
Furthermore, juxtaposition of unresolved conflicts maintains works of art
credibility in a historical concertedness.
(NOTE: To vary modifiers—or verbosage recalcitrant heavy-headedness is oft used
sparsely or not at all considering the visages length and width, which is
succinct but varies by evolving definitions.)
VII. CHRISTINE DE PISAN
QUERELLE DE LA ROSA
(Curiosity of POEMS)
I. Feminist critique is born in the middle-ages—
A. She wrote the LETTER of GOD’S LOVES—weaving out the unfair translations of
men’s contradictory influence over Biblical scripture—though she cherishes it as
literature.
II. An oppositional reading
A. In her writings she condemns the antifeminist as, insensitive, unjust,
coarse—yet full of idealist imagination.
B. Her intense anti-sin critique does not view the impossibility
Of avoiding sin—yet she encourages an amount of importance behind ‘published’ or
‘private’ documents
NOTE: Although sexism abounded, was this the cause of sin?
XIII. SIR PHILIP SIDNEY---AN APOLOGY FOR POETRY
I. Demystification and remythologization of a class structure---justifying the
religious and a religious as certified artists with no demands
A.) He cautions demands and retreads over legendary prowess
B.) Antecedents take precedent.
(That which comes before informs that which comes after.)
II. Key philosophy of Sidney
a. Kathalou—universal consideration
b. Kathekaston—particular
c. (Aristotle’s concepts of critiquing poetry)
(NOTE: Universal is ideal, particular is ‘real’)
III. Sidney’s Championing of Authorial Reason
a. Any state of mind is able to turn into art through poetry (though the less
caustic the better)
1-leads poetry into strict reasoning
b. Leads to a new textual strategy of my own for critics.
“If you cannot think something nice…don’t think anything at all.”
XIV. JOHN DRYDEN’S AN ESSAY OF DRAMATIC POESY
(in rhyming verse) ‘Hegelian fact: Art History is about victors and victims, but
written by art historians’ (even if it is a pain to class consciousness and
conscience) There is no rhyme or reason why treason is the season/ Of nostalgic
emptiness alone/Late spring eclipsing Early Autumn tone.
The point of this poem is to understand that modern and classical collide often
but do not always mix, though both forms are dying to be in each other’s arms
again. (Yet, no one needs feel guilty for art and entertainment that brings
joy._
Dryden is composing for four reasons
1. To idealize the view of money’s modern corruption
2. Returning to the point that corruption has always led to fame—Fame is power
(in the arts)
3. Power uncorrupted will lead to value (economic and artistic)—i.e. avoid
corruption
X. APHRA BEHN: AN EPISTLE TO THE READER
AND PREFACE TO THE LUCKY CHANCE
2 challenges for feminism
1) To paraphrase L. Ron Hubbard:
‘You cannot be everything for all people at once.’
Or—how early feminists defeat the purpose of endless desire by desiring more
from their desire.
2) To quote Dallas Willard: “Art is two things—an ‘author’ and ‘intent’
AUTHOR: APHRA BEHN INTENT: FEMINISM
Thus the logic of female authorship is twofold ( apart from the above interests)
A. To be adaptable to no singular—masculine ideal
B. Present the “misogynistic” facts as they present themselves—thru reason and
logic (and high and low comedy)
ESSAY: as men wake superficial sacrifices, the rest of the ladies suffer for the
guilt they put upon us through the burden of masculine feats of unfamiliar
strength—(avoid phallogocentrism)
XI. ALEXANDER POPE
AN ESSAY ON CRITICISM
‘Judge Not Lest Ye Be Judged.’
-Jesu Christe
PART I-
A lesson in poetical criticism
Watch manners-love word banners-be time spanners—
Part II
Origins of rhyming verse, in rhyming verse
Example in cinema language
Lumiere, Melies, E. Cohl
Invented
Edison, Griffith and W. Disney
Pioneered
Invent (rhymes w. sent pioneer rhymes with hear)
Part III-
I do believe ‘art in the age of mechanical reproduction’
Just had its critical poet’s introduction!
XII-
SAMUEL JOHNSON – THE RAMBLER, No. 4 BIRTH OF POETIC REALISM
Essay response: Extol values of humanism (to the point that anti-humanism is
displayed as aberrant hysteria with no leg to stand on). Thus to exercise free
speech in a humanist paradigm (liberal arts=ART, SCIENCE, PHILOSOPHY (squared))
means that the job to chide over—abundant codes of anti-humanism is for that
contempt reserved.
Rasselas, Chapter 10 (B)
Essay response: Tangible experience in phenomenological experience is worth the
effort to root out negative antiquated beliefs/disbeliefs, ‘Leading to a
discovery of a bridge between old and new ideas.’
PREFACE to Shakespeare (essay response)
From all angles, No need for argument here as Shakespeare’s reverie is displayed
with a healthy balance of balance of form, wordsmith style and tragicomic
content. “Adamant” sonorization lifts the spirits of Shakespeare (admonishes the
lofty height of complete perfection in verse, as well as the ability to defy
chaotic times) In short, the Shakespeare experience is flawless.
XIII-TEXTUAL STRATEGIES: DAVID HUME ON THE STANDARD OF TASTE…essay response:
British consequential/empirical/denominating universal rule of the content is
distinguishable by probable statistics informing good criticism, by reevaluating
problems and rewarding positive behavior through writing. If a ‘text’ (Marxist
approach to a “work” in Hegel’s view) is examined thoroughly by a fact checking
span of time, then rewards of intellects, imaginations, creativities, challenges
will be bestowed upon the style, form and content. Thus, Hume ignores (without
censorship) damaged goods, but rewards everything he enjoys in a strict,
calculative, ethical and moral response.
Humanist Rule: Thou Shalt Not Cheat
Wizard of Outré Zen
METAPHYSICS may be bound by PHYSICS, but PHYSICS are not bound by METAPHYSICS
ALL WE HAVE TO FEAR IS HOOLYWOOD HERSELF
DON’T BE CAREFUL/WITH RESERVATIONS
PART TWO
XIV- IMMANUEL KANT’S, “CRITIQUE OF JUDGMENT.”
Essay Response: This complicated essay provokes a modern awareness of reasoning
through contemplative analyzation—in a strip down collapsible approach to the
end of metaphysics, unless relatable to an automatic plastic response given to
such art forms. The Categorical Imperative (in an Edwin McCann-ian sense) is
useful to design a model of Free Play, inducing characteristic anti-meanings of
words to take the sting off harsh remarks indirectly related to prolong artistic
positions, with the thread-bare assessment of interesting nominals poised to
perfect linguistics and to retrain theorist/critics to never “denote” when there
is a connotation with a negative impact. DULY NOTED
XV- GERMAINE DE STAEL (A CRITICAL PHILOSOPHICAL QUEEN)—ESSAY ON FICTIONS
A startling discovery of the fictive elemental spelunking deserved of the
pre-literacy fact-checking female companionship, which demands accuracy,
factuality and a certain degree of heretical recompense for the masculine
over-voiced author—she demands “verisimilitude” or a polysemic heterogeneity of
the “masculine” to produce the “feminine” and vice versa
--
ON WOMEN WRITER’S
With memorable strengths—the more powerful woman, particularly those that rise
to higher ‘synthetic’ esteem than men in every way, deserve praise and to be
equally treated human—In spite of the disgust leveled upon them by men that
cannot get over themselves, women have always risen to the artist occasion.
Quick note:
Meta-conscious=collective conscience, collective unconscious (i.e. necromancy),
collective conscious, and collective unconscious (i.e. telekinesis)
XVI- (like the current Pope Benedict)
FRIEDRICH VON SCHILLER
ON NAÏVE AND SENTIMENTAL POETRY
Duly noted: Philosopher Kings informed to this article KING DESCARTES (dualist)
KING ROBB (theorist) and KING SPINOZA (monist)
Ironic jokes. Gen X: Like I give a Crux. Gen Y: You had to be there. Gen Z:
There is a dark side of Zenophiliac Mania.
In his lucid essay of cleverness, Mr. Schiller delegates awareness to
oppositional camps of structure, to bring about a code of suitability among
gains of artistic use. Structure is often mistaken with a standard and while
grammar—no matter the artistic edifice—competes with a certain space of
irrationality, deifies a critical code of harsh judgment and
self-dishonesty—Gain no pain and gain will flow to you as simply as praying for
tap water, when the spigot already (until a drought) runs freely. The good news:
Some wells of artistic blending never run dry!
XVII – WILLIAM WORDSWORTH—PREFACE TO LYRICAL BALLADS, “DESTINED FOR IMMORTALITY”
(I owe credit to Philo-Kings Dr. McCann, Dr. Cohen and Dr. Yaffe, who taught me
the value of the Meta-ethical copy code)
Essay response: Like a blacksmith of words of words (hidden or fixed): (hidden
being knowledge undiscovered or fixed—within a realm of understanding)—This
author is ameliorated with pleasant thoughts of these combative nomers (nominal
words that maintain presence of thought) (Question: Whose cultural pollution
created the RUT first? The iron-hand of probability falls on religious warfare
that has been taken out of a spiritual realm.)
Saturated in ego, yet full of thoughtful thoughts the drain of over loaded codes
is over-welcome to a desensitized age of over-loaded codes that is over-welcome
to a desensitized age of self delusion—unaware of hidden knowledge and happy to
be blotted out of accidentally imposed over-codes.
STUDY BREAK:
(For this text is a Free Academic Dispensary)
Christian Metz’ Grand Syntagmatique (CHESS FEVER parable, PUDOVKIN style…aka a
Dr. Polan inspired thought)
1. SHOT = PAWN
2. SCENE = PAWNS
3. EPISODIC SYNTAGMA = QUEEN
4. PARALLEL SYNTAGMA = ROOKS
5. ALTERNATING SYNTAGMA = BISHOPS
6. BRACKET SYNTAGMA = KNIGHTS
7. AUTONOMOUS SHOT = KING
8. DESCRIPTIVE SYNTGAMA = COMBINATION MOVE
9. ORDINARY SEQUENCE = ALL OF THE ABOVE
XVIII – SAMUEL TAYLOR COLERIDGE
(to be rigid, for a moment, this is post-Kant, post-Locke, and post-Hume)
--
SHAKESPEARE’S JUDGMENT EQUAL TO HIS GENIUS
Coleridge’s whole attitude toward “The Bard” is a free form collage of modern
mentalism and post-'sacreligion' school of free thought—entangled in a web of
demystification and scholastic encouragement—Coleridge tasks the master and
takes us all to him.
--
[Excerpts] From Biographia Literararia
Poetica omnibus distraught
Epic word-game onslaught
Every day we die for art
Lost again – dark in heart
En regalia mi occupado es eschuchen
Escribe, escrite and para eternitum
Factum didactum en referencia
Refractum in inequitem
(Like Gemini and Taurus in search of Sagittarius)
(In laymen’s terms, we are defenders of the philosopher-critic to the end of
time—And Nothing Else Matters.)
XIX—JOHN KEATS [EXCERPTS] FROM A LETTER TO BENJAMIN BAILEY
In Keats’ ‘break-even’ mind-imagination and formal construction precedent a
mitigation of prosaical composition—arguing the Biblical Garden of Eden is
pretty much just an excuse for good poetry. If Adam had not exiled us all from
Paradise, then why else will we be fighting for our lives to make it back in?
--
[EXCERPT] FROM A LETTER TO GEORGE AND THOMAS KEATS
Do not despair, for the spirit of negativity toward this stratagem of codes will
fade and burn into old stigmas without taboo and born language anew.
TEXTUAL STRATEGIES
(sample)
XX. PERCY BYSSHE SHELLEY (an old relative of this author…duly noted)
A DEFENCE OF POETRY/ “FOUR AGES OF POETRY”
1. What goes up must not always come down
2. Pray for your 'family’ and they will pray for you
3. Nicest compliment to give your friends, “Right back at you, babe”
Essay Response:
In terms of Shelley’s advanced notion of “Four Ages of Poetry,” he concerns
himself in honest reconciliation with epic Greek Poetry as the origin, a decay
of poetry as the origin, a decay of poetry as the origin, a decay of poetry
before the third stage of Dante and Milton producing the enlightenment phase. In
experience with Shelley’s lineage, he truly venerates the current modus operandi
as a flavorful return to Romanticism, consequentially his respect generated
toward words mirrors the 2nd phase, which is a bit Shakespearian (although,
non-linearity plays a role in categorization) considering his conclusion that
decay is in and of itself a stepping stone to new life.
PAUSE: (Let us give thanks to DAVID H. RICHTER for editing this MONSTROUS book,
A CRITICAL TRADITION---Queens College of the City University of New York)
1. Vanity is meaningless
2. Demanding Thirst meets Deep Spirits
3. Pointless Philosophy meets Mindless Genealogies
4. Selah (musical ending)
XXI.
GEORG WILHELM FRIEDRICH HEGEL
INTRODUCTION TO THE PHILOSOPHY OF ART
--
Without a doubt, the seminal aesthetic philosopher of the modern era—Hegel
employs facts of history, lengthy discussions on poetic impetus and concludes
with an orgiastic display of the basic unit of artistic language: poetry. Yet,
his balance of naturalistic forces predates a school of thought that his art
must be created without meaning. His impetus dreads non-didactic, influenceable
in-between hypnosis and hallucination modes of writerly effects that Marx and
Freud would totally exploit in later years. In his stead, Hegel champions a
holistic, total myth of the purest art, exemplifying the need to tax all
artistic powers at once from all the arts at once to bring about an ‘operatic’
total and complete masterwork. (It has been noted by Dr. Cohen that HEGEL would
have loved cinema…duly noted.)
1. KING SCHOPEHAUER RULE: SMOKE IF YOU GOT THEM
2. Thanks to the aid of DAVID MORRIS, my 7th grade teacher, for giving me the
Carnies Journal, and to JIM SEVERSON for the power of acting
3. IMMACULATAE IMMANANCIAE -AMORISTE- IMMUCALUTUM IMMANCIUM
4. (for Catholic readers only): Hail Mary, Mother of God, Blessed are thou among
women and blessed be the fruit of thy womb Jesus…pray for us sinner from now
until the hour of our death.
XXII. RAPLH WALDO EMERSON: THE POET
In eternity practices of moving words to fit tight connections in a limited
space are systemic of nature-worship and sparse isolation in austerity,
authenticity and esoteric. Reach too far for a goal and the “fire” will reproach
you—yet if the poem remains intact than it is awesome to create—with or without
false notions of an unreachable transcendence—whose unreachability is the
closure that erases’ both mystification and mysticality. To erase one’s mind of
the anti-poet (destructive structure) is to embrace meditation on
word—word-games—good or evil—if they are discovered in human life, then all is
well-unlike a “make or break” mental modality, which breaks down lyricism on
many levels.
XXIII. TEXTUAL STRATEGIES (sample)
KARL MARX [Excerpt] from the German Ideology
I. Overdeterminism-all histories, ideas, logics, theories, castes, politics etc.
merge into a predestined outcome of a meaningless life with no unmediated
choices and economics do not get chosen, economics choose based on evolution.
II. “camera obscura”—memory input that impresses on the ‘retina’ or eye
mechanisms further leaving behind a reference point for all time concerning an
event that will be repetitious or avoidable. (Like, “silencing a rabble.”)
[EXCERPT] from A Contribution to the Critique of Political Economy
In an ethical cross-reference critique of power-structures and idealism, Marx
implicates a stratagem built around obstacles of poorly put together
institutions that fail to encourage artists by pitting them in constant danger
from the slightest unwavering descent away from a rigid body politic—the message
is clear for modern struggles—conformity is one route for survival.
1. Do not forget 0=0 times e/mc squared=1 times 0=0 (Or no nukes is good nukes)
2. As Dr. Joseph Biden once said, “And he still has a pulse…”
3. Secret word of the day is “sexistentialism”
4. “The Holy Grail is a rigid set prop,”—Aaron Sheley
XXIV. MATTHEW ARNOLD
THE FUNCTION OF CRITICISM AT THE PRESENT TIME
Or to avoid BOOK LAG remember this phrase from Advanced Dungeons and Dragons, “I
can take the heat!” or “from a skilling spree to a chilling spree…”
Edwin McCann-(Univ. of Southern California school of Philosophy) once said to me
in candid passing, “I can never get my books arranged…” and then to paraphrase
his reason, “It is like Plato keeps knocking the rest off the shelf.”
Function of Criticism—To deploy art as a self-critic, (for example, Poe’s Fall
of the House of Usher, the Metaphor of exacting deterioration of the modern
fabric of religion, supplants the ‘house’ with an erratic superstition—Arnold’s
example of Goethe fits the schemata through realization, actualization, common
sense and disavowal through meditation on words.
THE STUDY OF POETRY (in dated lyric, cerca?)
“Cele manera, estrella en regalia, delibertum,” or in translation: Deliberately
crown (artistic) stars in fine robes and or linens, in the head of the heavens
(eternally).
NOTE: Thank you to America in this 2009, year of our LORD, for inviting an
African-American to the White House, President Obama, who has given us the
wiggle room for this Physical Spell: SCATALOGICAL IMPRACTICUM, which means that
Death is Impractical….unless we just want to agree to disagree, if you catch my
drift.
Merry Xmas, The War is Over—Jon Lennon
XV. FRIEDRICH NIETZSCHE
Philosopher King Ross Scimeca would say,
“The Spirit (Geist) of Music”
APOLLO (melody) / DIONYSUS (harmony)
(realism) (formalism)
(anima) (animus)
(war) (wine)
(opulence) (decadence)
(consequence) (freedom)
(ethics) (learning)
(depth) (width)
(size) (shape)
(God) (devils)
(nymphs) (satyrs)
(ascetic) (aesthetic)
(NOTE: All must seek a centrist NICHOMACHEAN or Dr. Jewellian principle of the
GOLDEN MEAN, to balance the powers, do you understand?)
(Recommended Screening TV SERIES hosted by Leonard Maltin, Secret’s Out)
XVI.
TEXTUAL STRATEGIES
(sample)
HENRY JAMES—THE ART OF FICTION
Essay Response:
To interpose a strategic response, James’ further ameliorates artistic
abstraction—ironing out the wrinkles of his preferred medium: ‘realist
literature.’ While he does maintain a profundity toward down-on-their-luck
poverty stricken artists (see also Zola,) he is non-preferential toward
interchanging drama and melodrama, casting no derivative on the losing arts of
‘mental physics” or hyperbolic questions, which are oft better left in the hands
of Science—Philosophically, his compatibility praises the art of prose with
emphatic arrays of deconstructable qualifiers of nominal factoids implanted in a
guilt-free, praise-worthy environment without a loophole at all.
JOKE REMINDER: As Drew Casper would say: “It all went down in the Grand
Guignol…” or as Dr. Hock would say, “This is reciprocity, unhinged…”
Little known fact: GEORGES MELIES is buried in PARIS, FRANCE at Pere-la
chaise…as is OSCAR WILDE
XXVII. TEXTUAL STRATEGIES (sample)—OSCAR WILDE—THE DECAY OF LYING
Essay Response:
In a dialogue session between fate and chance in fictitious characters, Wilde
elevates formal elements, which construct a path of “lies” or abstract/ideal
patterns that alleviate causality through pictorial representations of
situations that most likely do not exist. In essence, the article glorifies
non-existent practicality, flinging “bullshit” in the face of caustic reality,
that in turn dissipates factuality, in lieu of an environment that (in the words
of Jack Nicholson in A FEW GOOD MEN) “cannot handle the truth.” In fact, Wilde’s
superior, subliminal writing style is a textual oddity due to pragmatic cadence,
illustrative candor and satisfactory representations, valorizing the “untruth.”
XXVIII. LEO TOLSTOY—WHAT IS ART?
Essay Response:
In general, Tolstoy employs a veracity of “universalism” in a “Christian” mode
of consequence. His work is replete with the questioning of an artistic high
ground, linked with the necessitation of spiritual impetus—to reflect a narrow
margin of said works in defense of a style that reflects the growing world of
Christianity (as to him, a preference for beauty, truth, purity etc.) In his
criteria for representation of the holy, Tolstoy makes no apologies when
condemning the anti-Christian, or secular, media. Yet, his tenacity is coupled
with a suggestive sanctity in accordance to specific ways of reading the
“otherness” of a once derided infusion of the transcendent in arts. By today’s
standards, Tolstoy is a bit phenomenological, yet happenstance sustains his
suggestive battle for the universality of a likelihood to present a Christian
manifestation. (King of the Jews style).
EMIL COHL'S PHANTASMAGORIE
Whence the vaudevillians were stirring up a hornet's nest in a tumultuous time
in France's darkest hours of WWI, prior to this and during, came a poet of
philosophy that engendered an awakening to liberalism at any cost. Emil Cohl
poured over endless literature and awakened the values of animation before all
other legends. His fear of sketch comedy (lightning sketches, to be exact) were
so far from American dramaturgy and cultural pollution that it awakened his
imagery forever to be preserved in the annals of film history.
He formed a routine act with his cohorts, known as the "Incoherents," a group
that engendered awareness among his peers--Melies took great notice of his act
for instance, (as well as contributed to.) However, in his list of the mighty
feats, none will surpass the very first animated feature--PHANTASMAGORIE.
Interestingly enough, the spawn did not occur in one night--but in laborious
hours of hand drawn cells--which, in turn, produced a labyrinth of resonance,
dissidence and arguably profound psychedelic powers--
What separates Cohl from all others, despite his origination of the animated
form, was his pension for disparity and a twisted point of view on all things
that were too "Republican" for him to handle. However, nothing could be further
from repetition than his monolithic, singularly symbolic awareness.
Passion for his film spread like wildfire. Technically, the images are of a
line-form proper that shape shifts into people (his heroes), places (his house)
and things (a baseball bat, etc.) Without reverting to an obvious inheritance of
early stock footage and series photography, he diagrammatically shifted the
paradigm of trick photography that schooled all other animators to come.
Understand now that Cohl is a cinematic wunderkind, his verses display a
thematic correlation to time, speed and figurative motion, without a
predecessor. The effect has never been matched since, although the formalist
camp of film-making owes him everything.
At any rate, the age of muck-raking was coming to an end in the Early Days of
French Cinema, and he awoke to the sole purpose of musicalizing his
imagination--albeit he shredded the realist camp's idealism altogether by
envisioning the postmodern before the age of the postmodern, by shaking up
historical codes into pure meaninglessness.
To do this, he drew white lines across a black canvas and presented a new edge
of cinematic prowess--a line code, followed rigidly and dogmatically, but never
to be perfected in the same respect ever again. The reception of the film was
pointless because hardly anyone understood his potshots at tired allusions.
To round out the conundrums of the true animator code, he animated in a circular
way to his objects, clearing out squares and rectangles for freedom and totally
paved the way for animated shorts like OTTO MESMER'S FELIX THE CAT, WINSOR
MCCAY'S GERTIE THE DINOSAUR and ultimately, the wizardry of WALT DISNEY'S
empirical sound feature STEAMBOAT WILLY.
Not foreseeing that by breaking all rules, he invented them by doing just this,
without a rubric, without the wherewithal and logic and reason were tossed away
for fate and chance. Phantasmagorie actually ends with an unusual boxing match
and "morphs" (to steal a modern term) into various ideas of images before the
time came that anyone else knew how exactly to do this.
His problems were resolved almost instantly as he rode a storm of chaos infused
with magic. He criss-crossed light patterns, forever to burn onto celluloid as
pioneers would never topple, but always submit to his scientific engineering.
French society goes through cycles of decay and enlightenment and so too does
Cohl's imagery expand and collapse, like Kierkegaardian metaphysics, which are
completely subverted to dissipate a "holier than thou" attitude. Diversions were
desperately needed under the bane of conservative hypocrisy. Later, when realism
took control, Cohl's ideations were all but in frequented by viewers and only
later when Animation History was canonized and as Donald Crafton would delegate,
Cohl was a major player in the "Church of Cinema."
His pressurizing of formal technique boldly envisioned a non-hierarchical
democratic approach to reforming dream-like hallucinations, without caustic
endangerment or even a shred of propaganda. His machinery stands out as the
cinema pure envisioned by the Impressionist school (passed down to Duchamp,
Claire, and later Cocteau among others.)
Hypnosis, mind expansion and therapeutic wave-lengths of tripped out
freakishness are all in check, during the wackiest filmed imagery in history.
Avant-garde cinema will never repay the debt owed to Cohl, in fact. His early
sketched out categorization of non-sequiturs created an irony and a certainty of
quality fun, guaranteed to last--although perhaps unknown for generations.
Cinematic animation became like a whole new art form upon this
dawning--exercising no restraints toward impossible feats. Dabbling with a
magician's prowess instigated a designed fabric of split up film forms to a
reach of undeniable metaphors, though not dangerous or haunting (as Blackton's
HAUNTED HOUSE and the alchemy of Harry Smith proves to be in future drastic
times.)
Rounding out what seemed to be a bottomless cycle of rehash, Cohl repositioned
his misalignment to push the boundaries of a medium, now disfigured thanks to
him--repositioning his camera's steadiness by moving the image rather than by
moving the placement of the camera.
Without a priori motives, his conditioned response is the impetus for all things
ecstatic in an under-pressurized medium of Lumiere's and Edison's event film
actualities.
Drawing in on a resource of projected non-ideologies, or counter-hegemonic
margins, the liberal centrist approach took Cohl's artwork to a non-kitsch
extreme by valorizing the peculiarity of the dark ages of a quagmire of
out-of-date cinema-though the whole form had barely begun.
Ephemeral, ethereal and non-redundancy shakes up the retread so commonly exposed
by non-animators. Once the "feature" length devices of Reiniger's PRINCE ACHMED,
Disney's SNOW WHITE and the Fleischer's GULLIVER'S TRAVELS kicked in, the short
forms of Cohl's hidden knowledge were under exposed. To venture into the realm
of comics, cartoons and new CGI, were heralded by this old magi's gift of
animation invention.
With exacting preciseness, beguilement and abstraction in a pleasant sense,
deformed structure is bar-none next to Cohl's par excellence. Playing one end of
a drawing out, shaping it into another and locking down on the instigation of a
new medium, Cohl provided the toys and the playground to the wave of subterfuge
and his prologue is no doubt unforgettable after viewing.
What future animators may take from his whimsy is not to be made light of, as
the entire form owes to his credit. To sing his praises, even to the point of
sycophancy, is not a problem, as though he never sought exposure, he certainly
earns a respectability among the illuminating caricurates of his own "mad"
invent.
In short, Cohl pioneered, structured, formulated and envisioned, a rustic,
teleological perforation on the distinct qualities of animated "auteurism"; No
compromises necessary. Informed by political cartoons in newspapers (having his
hand in so many of them, at any rate,) infused his sculpture and plasticity into
a medium for a never-ending cycle of regeneration.
Imposing no rationality except in a scientific sense, Cohl exposed the secret of
cinema's dualistic (and now triangular with TV having risen to the challenge)
taxonomical advent of animation. Thanks to PHANTASMAGORIE for realigning the
early scriptures of cinema studies. Receive the film with care and the rewards
are endless, in this particular mode of representation.
And XXIX. SIGMUND FREUD
I. Creative Writers and Daydreaming—Interpellation
A. Sounding Board for the Sexual Struggles of Humankind.
a) Theoretics create conflicts—resolved through artistic expression
B. Three Types of Dreams (like a Josephian or Daniel-like translations)
SUPEREGO-1.Anxiety-unfullfillable repression (collective unconscious
Ego—2. Reality-functional dreams (collective conscious meets conscience)
id – 3. Wish—Fulfillment-decisive anti-repression (collective subconscious)
II. The Theme of the THREE CASKETS
“Between the ‘Mind’ and the ‘Body’ there must be ‘Heart’” --Fritz Lang’s
Metropolis
(BRICOLAGE)
A. Mother—Anal Phase—“Ever since we left the womb, we want back in.”
B. Wife—MIRROR PHASE—To Die Unto Yourself and Your Loved One
C. Daughter—Oral Phase—To teach her which man to choose, “or is he good at oral
sex?!”
The question remains, which would you choose, if you could not have all three?
Save one for a hopeful invention of METROPOLIS the video game (wink, wink,
nudge, nudge)
Auteur of the Moment: Henry Jaglom (for further info on his independent style,
seek out JASON SQUIRE’s Movie Business Book)
XXX. T.S. ELIOT—TRADITION AND THE INDIVIDUAL TALENT—poem response (stream of
consciousness.)
Everywhere there is dire need
To save the world from death
Again, the relationships we have
Come to vanity and nothingness
Random chance, time and fate
Deplete us of our will
And what God of the living
Returns us to our offering
If we save time and learn
From mistakes—the war ends, no one dies and
Eternal life is granted forever—
A.S. to T.S.
XXXI. CARL JUNG—ON THE RELATION OF ANAYLTICAL PSYCHOLOGY TO POETRY
“If you think it is just a film, think again…”—Jon Wagner paraphrased
“Christ and the Anti-Christ were born of the same God…”—A.S.
When taken into effect, Jungian principles applied are a healthy account of
technical, scientific compensative loaded to the bag with brain
chemistry—dissolving into an artistic symbology. Equipped with style, class,
transcendence and evolution, time proves this articulation of eventual artistic
progress is a “grass roots” project—for time tests us all.
HERE IS A GRID OF THE JUNGIAN PRINCIPLE ARCHETYPES (Magic Lantern Slide, RIGHTS
OF ENTRANCE #13)
HERA—Goddess of Life
x-axis
(vertical) (water)
(y-axis stigma) (horizontal) APHRODITE—Goddess of Love-EGO—A-WILL
B-DETERMINISM
C=2 (pi) r C- LIFE LESSONS
Styzygy: Anima—Mother’s (Sun) Womb—Animus—APOLLONIA—Goddess of Peace: D-Total
Status, E-Ephemeral, F-Narrowcasting
ANIMA (horizon) : D-Freelove, E-Energy, F-Diaspora (z-axis) (depth)
ATHENA--Goddess of Justice: Shadow—A. Umbra-Comfort Zone i.e. sleep, B.
Flickering Images—i.e. cinema, C.Bottom—Lifelessness-death
[Life’s Justice, Love’s Peace…that is Carl Jung’s ‘occult’ on a grid!]
TEXTUAL STRATEGIES (sample)
XXXII—MIKHAIL BAKHTIN—DISCOURSE IN THE NOVEL
Novel of testing—Semantic clearance, with no price to pay except solving dilemma
of word games—test which words to use and not to use. (words are transmitted
through influence, reading and multiple pending documented texts)
Novel of education—Upon default transmission, careful undertakings mince
responses with a fine grain word dispersal—for clarification, grammatical
compuncture and a whole lot less confusion concerning the future of the
importance of being a reader in a ‘win-win situation’
Problems of Dostoevksy’s Poetics
While full of caustic intent, “Notes From Underground” steadies the course of
reasonable fashions through “loopholes” or asides that denigrate a constant
redundancy in non-existential literature—in turn, an approach to a
non-problematic text would be to counter-attack Dostoevsky’s insecurities with
critical affirmations of dialogical excellence. To reify lengthy diatribes,
which often lead to excessive nullifying over-codes, symbolic logic has sought a
genteel structuralist approach for preservation.
REQUIRED SCREENING: “THE EARRINGS OF MADAME de... by Max Ophuls”
XXXIII. Textual Strategies (sample)
VIRIGNIA WOOLF—A ROOM OF ONE’S OWN
Shakespeare’s Sister
In an interesting bio-pictograph language of Shakespeare is interpretive through
the psychological dilemmas, frequented in practicality due to familial
pressures. The pressure cooker that heartfelt sympathies of “dead” famous people
around him, self-destructing or self-indulging or self-centered attributes in a
fashionable self-examination on Shakespeare’s noble part.
Austen-Bronte-Eliot
Jane Austen- V.W. writes of her determinants, her triumph in a patriarchal
society, her feminine authorship talent and her unusual ability to tame the
beast of masculinity.
Bronte—Without a doubt an antecedent, of the disparate baggage left by Austen’s
soothing qualities. Bronte sharpens wit, minces words and takes a few risks
along the way. The ghost story in WUTHERING HEIGHTS is the cream of the crop (or
crim-de-la-crim)
Eliot—knowledge of the “transcendent” author George Eliot, is downplayed by
V.W., yet not forgotten. He is a rugged individualist preferred by female
critics for his maintenance of talent and common professionalism.
STILL BOUND BY PHYSICS
XXXIV. HEIDEGGER—HOLDERLIN and THE ESSENCE OF POETRY
Essay Response: In the abbreviations of interpretive grandeur, newer theories of
poetics divulge a resource of Heidegger’s Holderlin diegesis (conclusive to say
the least.) To a degree, Holderlin diegesis (conclusive to say the least.) To a
degree, Heidegger’s existential category, never supersedes his love for gifted
authors of poetry. He argues that while words are dangerous, poetry never
is—although that does not mean that preferences to a selection are not allowed.
In theory and practice, poetics tame the beast of words, fulfilling a premise
heretofore irreconcilable—the modern way of examining bleak nostalgia is healed
by the essence of journeying through a time table to instigate exorcisms of an
art that has been denigrated long enough. ( Even though Heidegger was a Nazi,
his theories create dreams for a dreamer.)
Lighten up to this irony: ‘I’ve never met a drug I didn’t like’…’but I only ask
that no one follows me to where I am going….’ (A Matt Klicksteinian type
proverb)
Matt Crowe—This is the ‘youth’ of America…
XV. HISTORICAL INTERPRETATION OF LITERATURE
BY EDMUND WILSON
(“and still do I miss the Princess of Persia, may her soul travel to the spirit
land”)
Essay response:
While difficult to play favorites in the course of immaterial analytic studies,
Wilson makes a case of historical significance that the better the artwork in a
critical stance, the longer it is preserved throughout history. However, his
elitism and lack of ability to defeat other artworks that do not appear to
interesting to him, may in fact conjoin to a larger body of evolving works.
He avoids hypocrisy by eliminating the stance-of ultra-causality—although throws
caution to the wind in his rampaging course of linguistics, sociology and turns
the idea that criticism may devalue classy literature according to when and when
not the appropriate timing to divulge in certain art forms is necessary. Without
question, his article involves excellent grammar.
Marx and Freud factor into his interpretative dilemma, and with certain books
going out of date, he delivers no reason to deceive that they will not be
valuable again—yet his anti-censorship stance remains all too elite!
XVI. KENNETH BURKE
SYMBOLIC ACTION IN A POEM BY KEATS
I. Epistemology
--the study of thought process “Or, why I miss David Carradine a lot.”
--Understanding scientific brain chemistry in subterfuge
In Keats’ terms the wizardry of his words take on a challenging, yet soothing
effect, “Or, why did THE KING OF POP..Michael Jackson, die too early? Or what
happened to the Los Angeles McNair Family?” (more on this later).
II. Epiphenomenology—
--Evolution of word games, experienced
--Metaphysical logic, tangentalized
In Keat’s poetry his experiences informed his consciousness, which frames his
artwork without redundant over-codes.
Literature as Equipment for Living
Essay response: Burke’s animate frequent discovery of a gateway to
connectiveness and collectiveness is repudiated by nothing due to his careful
determination of resourceful influence. In other words, many author’s attribute
to a singular authorship, which makes it difficult to examine only one author as
a source of individualism. In effect, while social strategies declare a fit
perspective on fixed category, if all the other categories are left out, than
the reader forgets to whom the vast attributory streams influence an author’s
variability.
(AUTHOR’S NOTE: Because my ex-wife saved me from death..nearly walked into
traffic in France…I owe her my life, forever…) Thank you Dr. Chandra Khan for
awakening me to this ‘realization.’
PHILO-KINGS OF CHOICE BETRAND RUSSELL and ZIZEK
XXXVII. F.R. Leavis
[excerpt] From the Great Tradition
In defense of a battalion of pro-feminist discoveries, the worlds in which the
profound author’s Jane Austen and The Brontes live in modes quite aloof and
indifferent to their practices. Faithful studies instigate a posited nominal
rejoinder of masculine redemption necessary to canonize the anti-hegemonic
replay of female’s space—in turn this allows for immanence and equality, once
the keys were handed over from male critics, the books that the females
represented were finally in the arena—The great female authors are typically
marginalized until male critics allow them access. Wouldn’t it be nice if women
could make their own way into proven literacy throughout the ages without men
spoiling all the fun? Why does the test of time have to be controlled by
masculine power? Perhaps because, for now, it is what it is.
XXXVIII. TEXTUAL STRATEGIES (sample) LIONEL TRILLING
“If there are 6 billion people in the world, with an average of 80 years to
live, then perhaps in 80 years 6 billion people will die…”—Aaron Sheley (mood:
artfully confused, ‘It’s a God-Country-Cinema thing’)
“All entertainment is art, but not all art is entertainment..” Dr. Drew Casper
Trilling nullifies the pro-religious stance that art is some all encompassing
God—in fact, the lighter side of a liberal education is its acceptance of views,
which are often counter to the acts of wrong-doings justified by religion and
other conservative annoyances that lead to folly and over-sized egotism. In
fact, often times when artists denounce God, their work becomes figuratively
stronger—without a dogmatic environment of rigidity that hypocritically defeats
“structural” logic. In mixing many cultures, many ideas and a fair trade of
emotive and intellectual ideas of no instigations become necessary. Putting up
blinders to institutionalized “holy wars” will, in fact, settle the score, and
artistic leverage becomes an understandable playing field.
(SIDE TANGENT: Remember, this author [A.S.] received a GPA of 3.693 only .007
under Magna Cum Laude…but that was in undergraduate school…at USC)
XXXIX. JEAN-PAUL SARTRE, “Why Write?”
Essay response: In lieu of the quizzical eschatological permeation of
dissipation among authorial disposition, Sartre delegates a response of
pre-disposed ‘writerly’ institutions—albeit intuitively. In response to his
question “Why Write?” he provides several answers:
a. Freedom—which is a task that he believes comes naturally to the gifted.
b. Existence—or an art that only deals with art itself and is at the core
meaningless
c. Oppression—because a modern response to “generational curses” would be to
take upon the curse unto oneself—in order to alleviate the oppression imposed
upon “the otherness” in a non-transcendental but quite sociological stance.
TEXTUAL STRATEGIES
XL) SIMONE de BEAUVOIR
Myths: Of Women in Five Authors
1.Montherlant—An antifeminist that believes he is God’s gift to humanity—an easy
point to protest as in Biblical terms, men and women are equal.
2. Lawrence—An early queer theorist that dispositions men in honor of women,
though over and under masculinizing upon his females request—i.e. Women are
created equal, but men need deflation for this work.
3. Claudel—A firm believer in a non-hostile immanence, which is like a reset
button that clears the air of noisy bits of anti-feminist—in turn practicalizing
religion through implication.
4. Breton—Decontaminates the function of the mother-whore dispensation by
returning the equation the equation to a simple mother-daughter relationship to
a simple mother-daughter relationship, without an echoing a superstructure of
standardization
5. Stendhal—A reanimation of the feminine mystique, on his own terms—without
question (believed he could go in and out of paintings unscathed.’
“Life Springs Eternal…”
SCREENING ADVISE: To take the mind off of the ‘shit-storm’ we’re all in, I
highly recommend ED WOOD
XLI) Northrop Frye
The Archetypes of Literature
I-To deliver an old stereotype into an archetype there are a few tactics imposed
by an organized mindset—
a) Compatibility—defined by honoring a respective subject
b) Internal conflict—dealing with a set of thresholds before they overcome you
c) External conflict—rewarding positive behavior and ignoring negativity
II-To deliver from idiosyncratic complaints of unnecessary ‘muck-raking’ of time
adjustments that linger in three philosophical ways
a)RHETORIC—Itemized solutions to endless issues at stake in texts and orality.
b)PHILOLOGY—Study of word patterns
c)PSYCHOLOGY—anthropology (historical/social precedents) and psychoanalysis
(reconstructively speaking)
III-Reduce, Reuse and Recycle (bound by time and space)
Rhythm—a)use less products for conversation
Lyrics—b) package them carefully for liberation
Music—c) eliminate the need for greed for centrism
“Always look on the bright side of Life.”—Monty Python’s Life of Brian
Sneak peek at magic text (found later within in the Phelan pages)
Tears—resurrection---gain
Laughter+Loss=WAKING THE DEAD
“Fasten your seatbelts, it’s going to be a bumpy ride,”—Bette Davis, ALL ABOUT
EVE
Finders Keepers, Losers Weepers
“Take the Ultimate Trip”—TAGLINE for 2001: A Space Odyssey
“What would ‘Sputnik’ do?”—Anonymous
“If the ‘NAZIS’ disbanded UFA why’d they love their movies? What a fucking hoax
that swarm of morons turned out to be, trying to turn genuine artists into
propagandists…the same goes for all ‘bigotry’. Sometimes it’s a good idea not to
make something about what it isn’t. In fact, hell hath no fury like a critic
scorned”-- A hard won philosophy, also anonymous
THIS MESSAGE WILL SELF-DESTRUCT
Good advice: Take a vacation to Rome, Italy and visit the VATICAN
Screening advice: AN OCCURRENCE AT OWL CREEK
XLII)
TEXTUAL STRATEGIES (sample)
ODYSSEUS’ SCAR
“If the kingdom of Israel were established in Israel, the world would just as
well last forever, especially if everyone was invited.”—Aaron Sheley
“Call off God or gods and the world will sustain itself longer, do you
understand?”—Rev. Ned Denver
I. Contrition
--Narrative structure typically begins with a hero (or anti-hero_ rising to a
challenge after accepting a belief
--Typically, the hero must gather time and money and supplies to achieve his
first set of goals.
II. Abstraction
--If you are taking this seriously then you are not living for the moment
enough.
--Purity defies all sin’s against an art form, which implies there are no rules.
III. Restitution
--Whatever damage you create, even in your mind, you find a way to pay back…
XLIII. HANS-GEORG GADAMER
The Elevation of the Historicality of Understanding
Neo-classicism explained:
i) Heidegger’s Disclosure of the Forestructure of Understanding
a. modern classicism—i.e. Film: Bring Me The Head of Alfredo Garcia
ii) The Classical Example
a. Classical classicism—i.e. Film: It’s a Wonderful Life
AUTHOR’S NOTE: I forgive all of my former detractors, as I realize now that I
cannot carry everyone’s burdens all at once…including my old dog Patch, who I
should’ve treated better…same with my puppy, Rusty…And by the way, I’m not
anyone’s God or savior, just a simple person…(myth dispelled)
iii) The Hermeneutic Significance of Temporal Distance
a. Post-classical classicism: i.e. The Last Picture Show
b. Post-modern classicism: i.e. Pulp Fiction
iv) The Principle of Effective—History
a. neo-classical literature: i.e. novel: Crime and Punishment
b. neo-classical film: i.e. A Trip to the Moon, Gosford Park, Gangs of New York
c. neo-classical poetry: Emily Dickinson
d. neo-classical criticism: Film Critic: Rudolf Arnheim
MIDTERM (answer key): (Hell hath no fury, like a ‘Sheley’ scorned…)
BRING ME THE ALFREDO GARCIA:
1. We know this from the learning of Spanish.
2. The process Sam Peckinpah develops the film
3. Editing design Eisensteinian, but for a right-wing agenda
4. Thus, the movement of understanding is constant from the whole to the first
act and then changes to a revenge movie during the second—The structural
metaphors in use are gun battles or “blood ballets” are episodically
stylistic—Like the unusual editing in WITHIN OUR GATES by legend Oscar Micheaux.
It’s a Wonderful Life
1. Populist Progressive Ideology
George Bailey learns resistance to a system where charity, temperance and
tolerance are the key to the author Frank Capra’s intent
2. Genre—Social Problem/Screwball/Comedy/Fantasy
Hybrid Film. To differentiate this hermeneutic linguist societal imprint in
objective/subjective aspects through Romance to Idealism to an unlikely ending
in a total row of metaphysics. Rhetoric: It’s like asking…”why is the Liberty
Bell Cracked?”
The Last Picture Show—Instant Textual Interp.
1-Directed by Peter Bogdanovich
2-Featuring an ensemble (collective casting)
3-Black and White film about the “Last Christian Movie Standing”
PULP FICTION
Review: A total ransacking of all things scatological, in the ‘bad taste’ era of
cinematic discoveries—Pulp delivers the goods and keeps everything Fiction…Dana
Polan of USC and NYU explains its pure Postmodernity in BFI book, He goes back
to the result of our analysis of hermeneutics/linguistic analytic games.
iv. a. neo-classical-Crime and Punishment
1. Tract on reasoning orthodoxically
2. Either Crime and Punishment or Both
3. A sinner’s manifesto
4. A shockwave of redemption
5. An historical phenomenon
c. A Trip to the Moon
Review: A wonderful illusionary/allusion to the ways of formalism. What goes
before the enlightenment is on the basis of the aesthetics of genius. Romantic
expressionist. Never discredited for individuality—a hypnotic dream sequence
(like an airplane blowing up in the sky in modern times etc.)—embellishing the
myth
a—myth positive conditions of a futuristic society temporally distanced
conventions—a radical difference of space in this correlative also inspired
fantasies like PHANTOM CARRIAGE and horrors like AVENGING CONSCIENCE by D.W.
Griffith (origins)
b—iconography-Director Melies takes us to the height of free enlightenment
GOSFORD PARK
a- A circle of understanding of two classic texts Rules of the Game and a Jane
Austen appealingness anticipating completion in form-invisibility style-multiple
layers of socio-political bourgeoisie depth
b- Valuable historical landmark
GANGS OF NEW YORK
Spell-binding, gripping, sets the New Standard for historical in the Godfather
era.
c-Emily Dickinson
1-Brings about hermeneutical consciousness
2-Unbroken stream of tradition
3-Centrist diegetic ideology
4-The transmitted text of objective interest
d. Rudolf Arnheim (From FILM THEORIES AND CRITICISM by Marshall Cohen and Gerald
Mast)
1-Silent Film Critic Prejudiced and Biased to the silent era and not afraid to
let everyone know that “pure” film ended with sound, which, for the being and
time is accurate (save Musicals, for example)
2-Non-historical problematic, unless various audience view the film
3-Language for the sake of language
4-Films using a scientific method.
5-Lachrymose (or slightly slothful)—toward censorship
MIDTERM OVER
Break Time:
“The news of my suicide was extremely exaggerated…”—Aaron Sheley
(Tomorrow…the final cometh…)
XLIV. TEXTUAL STRATEGIES (sample)
SUSAN SONTAG—AGAINST INTERPRETATION
The series of standards opposed to cinematic philosophy will never end because
it is dubious. Whoever disowns certain films brings them back in a fly-by-night
operation but deals with kindred spirits to also remain aloof. Suspend your
disbelief and Sontag will disown you. She is a realist. Realism is a practical
way to be a cinematic historian, market soothsayer, or philosopher of certain
camps of undervalued and underprivileged. Her first task as philosopher-queen
would be to film more impactful movies about things that have not happened, will
not happen and will never happen again. Liars in the Non-Bazinian school never
prosper until the day when criticism merge with a ‘Truffautian/Godardian’
dialectic for personages and the epigram for feminism the pick of the litter is
‘Alice Guy,’ ‘Agnes Varda,’ and ‘Catherine Breillat.’
Furthermore, the longer a secret is kept about an upcoming project the easier it
is to sell tickets—but how do you win over a critic—
a. Submission to their powers
b. Subjectivitation of consequentialism
c. Possessing many properties
d. Including everyone in a ‘round-table’ grand dichotomy.
e. Analyzing every shot of the world’s ‘Great Films
That said…
FINALS WEEK
(Answer Key)
A TRIP TO THE MOON
Predecessor to Birth of a Nation
1. In No Way Relates to It
2. Is not anti-foreign
3. Formalist Alone (not a hybrid in a classical sense)
4. Among the First Modernist Short Films
UN CHIEN ANDALOU
A vision quest into sensitive areas, broken taboos and unleashed demons—it is so
hallucinatory that it will bring back your sense of interpretive reason. Yet
again it is Anti-Birth of a Nation, in the very respect that it derives from
another nation. Dali + Bunuel went down in history in a blaze of hysterical,
subversive philosophies. Eyes get cut in half, ants march out of hands, dead
horses get dragged around, nuns carry boxes on bicycles—all kinds of strange
stop motion—It is like an invitation to a Svankmajerian Mad Hatter Tea Party
ALICE sequence—only further. (NOTHING IS SACRED). It is the ultimate in
surrealism and contains only nightmares without exits, furthermore, is
tangential to a non-cineaste.
“Ever since I was a kid, I always wanted to be a ‘critic,’ which is why I submit
my powers to my friends, ‘outta respect…’”
Hiroshima Mon Amour and Last Year at Marienbad
Fairly Opposites of
GOLD RUSH- a wild romp through nature’s finest ‘Tramp’ stand-offs with
gun-toting barrels just the gag reel of mountain men’s fortuneless to save the
poor from monolithic impracticalities. Furthermore, no other comedy will outlast
you and out craze you to indulge. (Rumor has it that Chaplin smoked many hash
pipes on and off the set, but it is forbidden knowledge.)
JULES and JIM – A spotless, flawless and covered up for too long mix of genres
(all comedy and all drama) a ‘dramedy of fairers’ that spends all it time
entertaining and showing the dark side of Baudelaire’s stand offish attitude
toward ladies (Jeanne Moreau) rebels against the antifeminist lie by spiriting
away, which expect to stay out of bedlam by inventing it—music interludes have
never had better timing than in Truffaut’s towering achievement.
SINGIN in the RAIN – Exhilarating, fun and restless (“All I Do the Whole Night
Through is Dream of You,” or “Good Morning,” performed in part by Debbie
Reynolds.) Title song makes it all go away, “Singin’ in the Rain,” excavated
from a prior resource in the early musical library of MGM as all the “b” musical
songs became “a” lists when Gene Kelly brought on the rain number.) A sensation.
The final number is a show-stopper that brings up a curtain on false pretenses
of production value and You’ll never forget the pastiche that is the Broadway
Melody. The key to an animated victory is Donald O’ Connors “Make ‘em Laugh,”
you will bounce off the walls when Donnie flies through one. The transition from
the silent era to sound made easy by the Hollywood Musical forever.
--
The peacefulness of the watchful eye will encounter a hypnotic peaceful
tranquility of self-actualizations). Unlike the Fifth Generation of China which
has only heterosexual visions of cinema (see also RAISE THE RED LANTERN and/or
the G.W. Pabst film (not to be confused with my old buddy G.W. Bush, who I used
to hang out with) German Expressionist Pandora’s Box--)
Anyway, this relates to less caustic theology of stigmas where the light and
life always come out of the darkness—but remember in a spiritual mode…no
ideologies except religious ones…for an anti-humanist/pro-humanist stasis and
retrospective phenomenology. (Devoid of epistemology) or maybe it just
meaningless postmodernity. “Have a ‘Mysterious Journey’ along the way.
--
8 ½: A deserted sci-fi project that experiences so much chaos folly ‘musical
reviews’ that no one can rescue Fellini’s spaceships, in particular it soothes,
womanizes and insures a slightly healthier any goal… Whereas, Fellini bottoms
out on so many levels with his 8 ½…
Extra credit for anyone that names at least three of the films that appeared
before 8 ½ (i.e. Variety Lights, La Strada or La Dolce Vita etc. etc.)
--
WIZARD OF OZ
In the MGM tradition comes Victor Fleming’s Frank Baum tale, patching together
good versus evil in a wicked plot to unhatch color films to the masses. Do not
return to ‘black and white’ until you wake up. Forget your cares to “Somewhere
Over the Rainbow,” sung by Judy Garland. Once in Oz the Lollipop kids will Guild
you until you “Follow the Yellow Brick Road,” as instructed unto Dorothy by
Glenda, who gives her the only way home to meet friends and find a Wizard in a
maze of franchising deliberation, providing intelligence for a scarecrow of
theology, providing a timed-heart for a scientific “Tin-Man” holistic robot, and
giving structural courage to a “cowardly-Lion” of apolitical/political agendas.
Remember, “Pay no attention to the man behind the curtain!”
Final Part Two
NEVER-ENDING STORY
What do you expect? The title alone defends the theory that the story never
ends. Bookshops, dragons, poetic music and “Nothing,” is defeated by a dreamers
belief in the magic of dreaming. There is nothing related to ‘suspense’ but
rather a ‘surprise’ in Wolfgang Peterson’s mirage. In fact, Rock-people,
wheeling gelflings and the real world perspective) to his romance with a
princess in a castle and it is reported that the film made gang-busters (with 40
percent overhead of production, 30 percent distribution and 30 percent
exhibition…an ideal approach to cinema…the film returned a profit) at the
deproblematized, even in its Manichean (or off the metaphors, fly with a luck
dragon, dodge blazing statues and pass through this dream-land of recycled fairy
tales.
VAMPIRE HUNTER D
(anime)
The Vampire Hunter is half ‘Geurande’ (of Les Vampires protagonism) and half
Nosferatu (Murnau), he defeats floating eyes, wicked serpent shape-shifters,
learns from his talking hand (Hands of Orlac style, directorly style) In a
sci-fi, fantasy, horror (levitation, castle storm, werewolves). In a grid of
animative reproduction it breaks no rules.
--
ALLURES
Nothing doing with the antispiritual non-metaphysical realism of class
sociologies of LES VAMPIRES. In every way it is only a cool down technique
recommended for egotistical maniacs to watch in a haze of religious banners that
when worked together by spiritualists, mediums and transcendence will create a
fade out of tired special effects to a land Beyond the 2001: A SPACE ODYSSEY
laser light show, “Used heavily in Arthur C. Clarke” and Stanley Kubrick’s
Beguiling Jupiter and Beyond the Infinite (?) Sequence…
FINAL (continued) PART TWO
METROPOLIS “Art is thinking in images”
In terms of German Expressionism not even a dream of a Moloch pit to devour
worker drones can topple the TOWER OF BABEL myth in the networked device of evil
conspiracies unhatched by a research team that creates a semi-Satanic robot to
defeat the utopia. When the pleasure garden reserves itself to trade in front of
a defeated giant of business pressure, the real woman, is, in the end, not a
robot, but ‘flesh and blood.’
GULLIVER’S TRAVELS (animated, 1938)
When a giant from our world travels to a small continent full of little people,
a war incited by lost romance, the giant thwarts the war by breaking free of the
workers bonds and flings a battalion of ships back to sea—in theoretical terms
death brings pain but life springs eternal. Philosophically this is compatible
with everything. Truly this is the only all-time great first animated feature.
Jonathan Swift turned childish for all ages by the Fleischer’s factory of
fanfare of fun. Do not defeat the Giant or the Giant will defeat you. An utopic
fantasy ‘toon with awesome sing-a-long songs for the whole family business.
BLADE RUNNER
“Poetic imagery is a means of creating the strongest possible impression.”
Ridley Scott’s most isolated effort of modern science miracles. The Director’s
Cut (excising narration, altered “high-rise” ending.) In effect, the cult of
Blade Runner has dominated Los Angeles ethos for at least 20 years.
GODARD—(THE NEW WAVE DAYS)
Examples:
Les Carabiniers
Breathless
Alphaville
2 or 3 Things I Know About Her…
Contempt
La Chinoise (final film)
My Life to Live
ROGOPAG
7 Deadly Sins
A Woman is a Woman
Petit Soldadt (sic?)
and
Pierrot le fou
An entertaining diversionary to avoid all revolutions—A case in mistaken
martyrdom from a tennis match—through a sex appeal (Belmondo and Karina) to a
beautiful apocalypse wave-lengthiness, breathtaking and a total inhalation of
fresh air. Approaching strange car rides of lust, long lost philosophies of
Robinson Crusoe, pulls a total critical mess of infractory Brecht/Threepenny
Opera approaches the end result of the “end Vietnam project…”
(Note: Wouldn’t it be nice if Characters only came alive in their films…more on
this treatise later…)
RASHOMON
There are seven or four sides to every story if you look at it from certain
perspectives—episodically (QUEEN) to autonomous (KING)—
The bookends—(parallel syntagms) are of a humanist approach—
The interior long walk shots of the woodcutter are (oppositional—bracket
syntagms) woodcutter are (oppositional bracket syntagms like KNIGHTS in chess)
diagonalizing episodes
The four interior supposed lies are the infrastructure…(SCENES or PAWNS)
1. Swordsman samurai bandit stoicizes the Ronin legend by raping a bride of a
nobleman
2. The two men duel over the epicurean woman and the winner takes all.
3. A demon-possessed necromancer tells of how the woman brought the Pythagorean
battle about erotically savage-like
4. Cynically nobody wins and everybody loses--
BOOK ENDS: Rain at the Rashomon Gate (The humanist touch of Kurosawa)
LORD OF WAR
A razzle-dazzle slow train wreck of aesthetic right-wing box office deliverance.
So out of control that you will feel the pain of every gunshot—Like GUN CRAZY it
is forever ambiguous swinging to the left-wing during the prostitution sequences
but ultimately sends out a message that when Africa is at war, maybe they need
guns—However, Nicolas Cage gets his freak on with an arsenal of weapons and that
alone is worth my ticket price.
--
SHOOTER
A delusional mishmash of priceless architecture gone down the tubes of
gun-battle hypocrisy—no morals, no decisions and a scatterbrained
attitude—however, has a Hunchback or Mr. Hyde element of adventurous pacing that
who cares what it is about.
PSYCHO
1. Auteur: Alfred Hitchcock—Genre:Suspense Thriller
2. Horror hybrid—the mother of modern horror
3. Episodic syntagms stream through the consciousness of a memory that will
never fade.
4. Made either to bluff serial-killers, or will it create them?
5. Bernard Herrmann’s score, Joseph Stefano’s script and Saul Bass’ titles
scrape, strip and slide to take the film down to its bare bones.
BLOOD OF A POET
Make hypnosis not psychosis in the Cocteau camp. Nothing like a little confusion
to create French reasons to agree to disagree. It is part nightmare, part wish
fulfillment, part logic and all hallucination. The fantasyland of it all will
sweep you away into the ‘hard won’ short-film issues, by riding the line. After
seeing it, Cocteau will never leave you or forsake you.
XLV. TEXTUAL STRATEGIES (sample)
VICTORY SHLOVSKY
I. Art as Technique
Essay response: In congruence to a word creates artist theory, Tolstoy never
dissipates from his Rigid Ways but other communist word propagationists
disillusion grandiosity for the sake of lyricism. Poetics are aroused from
deeper meanings than any one set of standard “over-arches” a singular franchise.
However, the author theory has strength in numbers so it applies with rapid fire
and lucidity. However, the author theory has strength in numbers so it applies
with rapid fire and lucidity ‘a been there, done that approach, which never
fails’. However, nothing over implicates word ratification over simple minds
than a totalistic heterogeneity. If capital texts crumble, then so do all
linguistic codes; If linguistic codes crumble words become caustic and no one
wants disenfranchisement so they always stick with their favorite words (In my
case, for eternity, I like this phrase, “STAY OUT OF THE WAR ROOM, LEBOWSKI” a
play on words from mixed sources.) in freer societies until someone gets hurt,
then words change. Socio-linguistic battles are never won this way. (“Scientists
have already proven that thoughts are evolving away from deadly constructs,” or
“I believe in nothing, therefore I am guilty of nothing,” or “I never used your
name in front of the detective, I swear” lines from SHADOW OF DEATH.
Some polar oppositionals weren’t meant to mix (although my semi-cousin ‘Ryan
Ricks’ has gone through hell in jail, and I pray for him constantly, even if he
is a cold-hearted killer (to an extent, but he is the father of my nephew
Caleb…)
A dogma ending Dr. Seuss joke to avoid “isms”: I WOULD NOT COULD NOT IN A BOX…
Meanwhile, Here is the everyman guide to the progress report of micro-economics
(or how to balance a check-book)
(rank and money matter)
Checks--$3.14|$120.64|$482.56
Dividends--$241.28|$6.28|$60.32|$30.16
Balances--$12.54|$15.08
(The pattern here is quite simple, keep the numbers aligned like a ‘perfect
circle’)
VIEW LOG: BERLIN ALEXANDERPLATZ episode “IN THE DEPTHS OF SILENCE” (Fassbinder,
1980)
The downside of the Four Horsemen of the Apocalypse
DEATH—FAMINE---PLAGUE—WAR
Helpful Threshold Guardians to pull through these ‘Power of Myth’ maneuvering
style…
BEGUILOR vs. DEATH
DESTRACTOR vs. FAMINE
SUPPRESSOR vs. PLAGUE
CONFUSOR vs. WAR
(some thresholds were just built to last)
(of course, it is a good idea to stay out of the affairs of others…due to the
dangerous world we live in, I really do not want to know what goes on
‘behind-the-scenes’ at all.)
Here’s another quick dramedy of life to take into account for the heck of it:
An Annulment Contract (trial run…with intent to payback in a ‘whittle’ down
economic return of the ‘favors granted’ especially for those I’ve ‘stolen’
from…of course, sometimes you gotta steal to eat...JOKE REMINDER)
Here goes: TO ANUL (with regards to sticking to an intent to payback the
ex-husband or ex-wife in whatever legal arrangements were made in the divorce
agreement etc.)
A wise man once stated that if you love someone, you should set them free—Out of
fear for any further ‘codependency’ I believe that MR.----- and MS.----- should
no longer be considered divorced or separated to avoid further ‘engagement’ that
way they can be free to pursue other interests and other interested
parties---Good Books describe the ‘lust’ in a man’s mind is almost as bad as
‘lust’ itself. Perhaps this ‘thought-crime’ will disappear upon a clean
break—Because of difficult circumstances that range emotions in a ticking time
bomb of biological clocks, which should be heretofore noted that if the marital
contract be broken, than there was not a ‘cleaving’ of sensibility, so to call
it even and go for a clean break and fresh start:
MR.-------- signature and MRS.--------- signature
If agreed on, and that alone….DULY NOTED…Requires a Notary Public
Author’s Note: Believe me, gang, I am still “really” new at this…so I’m working
on an unwavering abstraction of ‘anti-guilt.’ It is yet another, AGE-OLD DEBATE…
XLVI-STRUCTURALIST-FORMALIST
I-PROBLEMS of GENESIS of LITERARY PHENOMENA
a. ‘reject theories of naïve evaluation’
b. ‘analysis of separate elements of a work, such as composition, style, rhythm
and syntax in prose and the rhythm and semantics in poetry, provides sufficient
evidence that these elements, within certain limits, can be abstracted as a
working hypothesis, although they are interrelated and interacting.
c. Some things never grow kitsch (like a romantic comedy I want to work on,
titled SHIP OF FOOLS, as I have lost my most gorgeous leading lady to date
Janelle Pope, it might be interesting to steer to another route) some things go
in and out of style, humanists are in it for everybody only animals love
stereotypes but wouldn’t we rather be archetypes? Not in a structural way
because we are what we are and nobody ever changes—unless we rewrite stories to
make them change
d. Is revisionist history allowed? Well, documents change over the years and we
need to get used to it because there’s always room.
e. Decoupage—a systematic cross between signifiers and non-signifiers, which are
sign. Camp and cult is sometimes good, sometimes bad, but it all breaks even in
a communist system that will end all beliefs to only believe in one.
XLVII—TEXTUAL STRATEGIES (sample)
WILLIAM EPSON
Epilogue to Seven Types Ambiguity
Structuralists reconstruct
Deconstructuralists deconstruct
And they come to terms with each other
They get away with it.
Take again for instance Fassbinder’s BERLIN-ALEXANDERPLATZ, which is used to
dissect this analogy
1. Director Fassbinder-
A pot-smoking, gay German director that made the world’s longest exhibition
marvel of a film (15+ hrs.)
2. Poetic Homage’s are all around us.
3. Parallel Gangster/Romance/Epic Period Piece of Weimar Era Germany
4. Endless variations of montage
5. Perfectly Timed Acting Exterior and Interior Set Designs
Poetry
In the darkness of my heart
Leave a drink of thirstful crimson
Flight is evolution’s start
Guild thine might on crimson
Interestingly, I believe communists are no longer into war for profit or any
other reason. Eastern cultures value peace-making—even statements that do not
conform to any code of “isms” will eventually be free from this Dogmatic
situation. (The visualizer explains the whole thing off by asking what good it
will do?!)
Going after this critic is like a Quixotic Windmill Chaser on a Cloud (see also
Gorillaz-Feel Good INC. music video recommended.)
“social comparisons or derivation” are key formulas to owning some kind of
metaphysical train-set.
Empson you are an infinite hall of mirrors, “for the satisfaction of the mind”
Intensify dispassionately
Fallacies exist in almost everything
Self-contradiction is a constant—
In communism identification is valueless, except typically everyone gets paid
for being human.
Antinomies—(anti-symbols)
Proustian intimacies create a passion for the world’s most prolific author—it is
“the nature of the organism” of writing…”or you are carrying too much”…
The only thing I must agree to disagree with is when Empson claims “the cult of
irrationalism is such a bore” does not make sense because that is a Chinese Box
Structure I will always partake of. Like the statement “Rainbows always go above
Golden Cities” is considered partially irrational. Logic games are a race
against time. (No negative sensibilities intended.) Rediscover knowledge by
abandoning thoughts and feeling. One drawback to left wing philosophy is that
Right Wing politics are often conducive to better business practices and
money-making. So let’s all just have a ‘long talk’ about ‘nothing.’
XLVIII—W.K. WIMSATT and MONROE C. BEARDSLEY
-The Intentional Fallacy-
“Is the Infinite of the Infinite Possible Universes’ Never-Ceasing? “Which Means
Everything exists in never-ending cycles—if posited’—Alan Smithee’s Anonymous
I-
1. A poem does not come into existence by accident—standard imposed
2. All poetry invents meaning—
3. Practical messages are more abstract then poetry
4. Ananda K. Coomerasway
Dictionary
1-has the artist achieved his intentions “Ezekiel to AREA 54 cometh…”
2-includes a skillful poem
5. Upon an artistic canonization, (like Buddhist ‘mappo’) This prevents the
creation from leaving us even after death.
II-Goethe’s 3 questions for ‘constructive criticism’
1-“What did the author set out to do?”
2-‘Was his plan reasonable and sensible and how far did he succeed in carrying
it out’” (What if St. Philip really did ‘teleport’ in the book of ACTS, or what
if reading ‘upside-down’ leads to reading right side-up?)
Example answers:
1- To achieve greatness
2- Partially unreasonable, not-quite sensible and you are only as successful as
the last piece of criticism you read.
III – What is a ‘dithyramb’
(rhyme patterns) (musical device)
To tame a page
Password of school’s intent:
Sincerity – integrity (honesty and charisma)
Fidelity – relevance (challenging and intellectually sound)
Spontaneity – unity (changing and wholeness)
Authenticity – function (ontological originality – necessary material)
Genuineness – maturity (rarity and growth)
Originality – Subtlety (without flaw at a less is more)
Adequacy – Expression (gets by with flying colors)
IV- The realm of literary scholarship-
1-“evidence of type internal is also public/moderately with that of type ‘cast’”
2-“will in the long run produce a different sort of comment”
3-“intermediate kind of evidence about the character—where it shades into.”
A Valediction, Forbidden Mourning
By John Donne
Moving of th’ earth brings harmes and feares
Men reckon what it did and meant,
But trepidation of the spheres
Though greater farve, is innocent.
Responsive Poem
By Aaron S.
Movement changes from season to season
Unusual the way people works
Fear is only a circle away again
Behind me many a gunman lurks
XLIX—“Whereof one cannot think, think in silence”
CLEANTH BROOKS—IRONY AS A PRINCIPLE OF STRUCTURE
Tragic irony—Oedipus—an accidental crime leads to several accidents
(depends upon illogical signifiers)
Self-irony-Christ on the cross quoting, “My God, my God, why hast thou forsaken
me?”
(depends on self-critique)
Playful irony- i.e.
A “Lost and Found” bin at school
(depends on child-like confusion) (see also Tenacious D’s Tribute)
Continues…
Arch irony- nothing is sacred
(the valueness of value)
Mocking irony- nothing can be overdone
(mimicry and a slight teasing of others)
Gentle irony- i.e. “The dark-side of Beatle-mania.”
(if you do not like someone, let them down easy with a combatiblist agenda-less
agenda)
--in short irony is a cultural context of misnomers, typically meaningless and
non-abrasive
LEXICON-“Directing attention to aspects of poetic words which only a new model
or analogy can bring into view, in formulating new ideas of excellence”
The irony—“I have taken ‘Midol’ as a man, to experience the pain of a woman. Or
why doesn’t someone invent a male contraceptive pill (more on this later; Like
valium/lithium combination with a ‘Viagra’ booster pack) so that females do not
have to suffer alone during birth control phases.”
NEXUS—sporadic random data the sometimes melds to create less confusion and is
at other times way off the page.
Together they form components of systematized language.
L. TEXTUAL STRATEGIES (sample) res + verba
Subject matter and language
R.S. CRANE—Toward a More Adequate Criticism of Poetic Structure
Essay response: “…allegories, apologues, fables, parables, exempla, thesis or
propaganda drama and novels.”
Allegories are social imprints of artistic symbols used to mitigate thematic
codes—“like a grain of sand within a grain of sand, so are our minds in the ways
of true omniscience…”
Apologues—inserted diction that thwarts movement in a text to steady the
reader’s gaze. (PSALMIST: I know whether you’re standing or sitting, in hell or
heaven…etc.)
Fables-Imaginative statements
i.e. “Beautiful Apocalypse”
Parables-Comparable “envisages” or theoretical frameworks for narratology
Exempla-“hypothesis of structure”
Thesis-“extensive…general knowledge”
Propaganda==how to end the myth of ‘contraband’
Novels-Grand Narrative Resource
Substratum
-a go between philosophy of language-
Interpersonal-an author’s touch-
Together they can form keys, which shrink or grow
To fit into any locked message and get through any challenge by unlocking them
(like a mold.)
“jouissance”
(French for enjoyment)
BABYLON REBORN
Come out of your shell
Take part in sinfulness
Share punishment equally
The bullshit is piling up all around us
Treat your lovers responsibly
Pay your way out for paying in
Spend your art-film power and knowledge
Is a word fast that leads
You to the glory of Mary Jane
Philosopher-queens
Send energy to widows deflect grief for past lovers
Why doth plague, disease, grief and famine burn alongside Deborah the Hebraic
Judge or was it the kinder Goddess of Peace, Appolonia?
LATIN STUDY KEY (From Wheelock’s Latin CHAPTER 34)
Latin-deponent verbs (active and passive)
Principal Parts and Conjugation
1. Indicative
Present Indicative
Hortor-I urge
Present Infinitive
Fateri- to confess
Perfect Indicative
Secutus (-a –um) sum,
I followed
1.hortor, I urge
2.horataris (-re), you urge
3.hortatur, he urges
1.hortamur, we urge
2.hortamini, you urge
3.hortantur, they urge
IMPERFECT
1.hortabar, I was urging
2.hortabaris, you were urging
3.hortantur, they urge
IMPERFECT
1.hortabar, I was urging
2.hortabaris, you were urging
FUTURE
1.hortabitur, he will urge
PERFECT
Hortatus- a- um- sum—I urged
PLUPERFECT
Horatatus- a- -um eram—I had urged
FUTURE PERFECT
Hortatus –a -um ero—I shall have urged
SUBJUNCTIVE PRESENT
Horter, horteris
Hortetur
IMPERFECT—hortatrer, hortarereis
PERFECT—hortatus –a, -um, sim, sys
PLUPERFECT-hortatus –a, -um
RANDOM FILM REVIEW:
PASOLINI’S MEDEA
“Don’t Panic”
Pasolini’s Eternal Flame of Demythologization to intensify homosexual lust.
Medea--a key figure of verisimilitude, is the author’s absence from characters’
of prededication of inequality where verbal mythology collides and is a
subjugate to deconstruction. The female impetus is adroit to isolate the
over-derivation of the Goddess figurehead of the title’s nominal heroin status
preconfabulation of her mentality of a land without desire. Her sacrificial act
of cannibalistic ritual (in devotion to Greco-Roman epic deities)
self-destructivity of the home (when she fire bombs her own temple with black
witchcraft or ‘red’ magick) awakens junctures of her intent; to obliterate her
husband’s foolhardy guest of world domination—via the beheading of his enemies
through sexual enticement. Yet, the love is never reciprocated between the
foreboding oracular centaur narrating the text. Jason (of the Argonauts) is
rarely explicit and his appearance reveals obsession with war, sport and sexual
deprivation
Like Animalae vs. the ‘out-of-date’ Animism
REVOLUTION 9 (exposed)
Amidst the Beatles’ White Album explosion in the marketeering of cultural
explosion in the marketeering of cultural dependency on rigid motherfucking
beatlemania there is no other way to bring them back to life is to be
sacramented in to all of their values and listen to the actual album, without
transcending their throne—
Let us skip to Rolling Stones and pitch out a chord for ‘Paint it Black’s’
structure and irrationality.
Cue:
“I see a red door and I want to paint it black.”
Cue (i) in repetition
“No time for colors anymore, I want to them to turn black”
Then cue (v) a repetitious line-wave, which happen again in the second half of
the chorus—
Or take a rigid approach for the second-half of verse 2/chorus 2 and you get the
lyric “I could not foresee this thing happening to you”
The pomo approach is that this too is meaningless, which is really what
nonsensical verses confused people by fitly tighting into a world of pure
Beatlemania—this too has only the value of understanding ascribed by penitent
math key’s as found in BOOK 8 of Plato’s Republic (see opening of this book)
which out condones that which is chosen (like symbiotic, identical, rowdy twins)
and a world of ‘toy soldiers’ and marketing ploys that divert attention from
‘lyrical’ reality.
What if disc two was riddled with cultural implications of an over peaceful
vision that declared victory in every respect by shouldering the collective
conscience. Let’s just put it this way to the remaining Beatles—until ‘death’ do
us part—as mentioned ‘Hard Day’s Night’ turns to ‘Hard Week’s Year’ in this
nexus, do you understand?
What syntactical word will devalue my generational curses without being
recommended to touch base with saving a true historian of critical culture
before it destroys him in a wake of theft, as he has truly not
found a way out of except hysteria for occultic principles of pre-mapped,
white-washed Hidden Fortress of Beatle-maniac rules to uphold, which means to
keep all rules secret until the actual day of market reckoning.
Would it be heretical for artists and stowaways for the pop-philosophy
culture—like for instance Edwin McCann at USC, for example—to live through the
ultimate revelation of battle lyrics that they are only allowed to be toyed with
by the four of them, dead or alive—I prefer alive, obviously, to out-brigade the
unbridgeable—Why is it then during transcendental meditation #9 creates a power
struggle of friendship codes that cannot out struggle friendship codes that
cannot out strengthen the ways of the alive if you are hearing the words and
that alone—
How do we rewind to the 60’s by walking backwards in film terms
New Millennium—In the Mood for Love (Wong Kar Wai)
90’s—Fallen Angels
80’s—Berlin-Alexanderplatz
70’s—Salo
60’s—“Hard Day’s Night”
Or Psycho (even Dr. Strangelove: Or How I Stopped Worrying and
Learned to Love the Bomb)
Let us take from Disc 2’s underground chorus that in some parallel equation fits
nicely fits nicely into a ‘spectrum’ of eternal resonance—which out spectates
definitive codes of recyclable codes of the meta-spectrum which brings promises
of the anti-defilement color coded stu sucliffe lovin’, Billy Preston lovin’
origins and endings—although the reason for the break-up of the band came down
to light and simple disagreements over money and fashion fads—which is the
ultimate cultural struggle that ties us all to a frozen fencepost which is a no
brainer because you must decide what idols to burn out of the way in the once
initiated parameters of rhythm when early phases of folk rock appear in ‘Rocky
Raccoon’ on Disc One and heavy metal in ‘Helter-Skelter’ (or, as my stay in a
homeless shelter in L.A. reminds of, a ‘Helter-Shelter’) on Disc 2 which are
just two poles of opposition, examine that there is a ‘honey pie’ on Disc Two
which out stylizes all music codes
Take a look at Disc Two’s
“Yer Blues”
¾--I 8 bars of 4/5 rhythm patterns which fits into the harmonic permeations like
this lyric “I’m lonely…”
¾ divided by 4/5
Is ¾ times 5/4 = 15/16
So four steady music notes
I’m Lone-ly Wan-na Die
2 ½+1/2 ½ + 1/3 3
Define a 15/16 rhythm until the next part of Choral I which is a holistic 5/6
vs. 16/16 or 1 approach between let us examine the lyric
“If I ain’t dead already”
Falling in line with a chorus in a 4 for rhythm over 4 for harmony which also
delineates rhythm over 4 for harmony, which also delineates rhythm over 4 for
harmony sound tempo structure and formula—death is the only way out of this
rigid box-design with reservations.
So I guess the moral of Revolution #9 is somewhat immortal due to the
constraints and time pressures that could not be out mediated, or
substandardized—repetitious structure mold breaker rhythmic chaos of life, birth
and understanding creates a mind-quake of different ‘Anaxagorian’ or a
volcano-diver theory (if only we could freeze-frame time before the ‘bastard’
burned). Remember the ways of ‘Icarus’ and choose instead ‘Daedalus’ his father
(who was locked away in a tower, and some say, he flew away without wings being
melted etc.) or let us just be human and demand that it is right to tithe to the
Church of Beatles with gratitude, importance and a non-chalant Abbey Road
defender to go into the Let It Be Zone—or “Block That Kick”
I guess even now, it is impossible to block the bullet for old Jon Lennon,
because the last thing he would want would be for anyone to die (unless they
demolished Western Civilization like two or three things I know about
Easterners)
(Go to next page for the clincher)
--LP collection—
1. PLEASE PLEASE ME
2. MEET THE BEATLES
3. WITH THE BEATLES
4. HARD DAY’S NIGHT
5. HELP!
6. RUBBER SOUL
7. REVOLVER
8. SGT. PEPPER’S LONELY HEARTS CLUB BAND
9. MAGICAL MYSTERY TOUR
10. WHITE ALBUM
11. YELLOW SUBMARINE
12. ABBEY ROAD
13. LET IT BE
14. PASTMASTERS I
15. PASTMASTERS II
TOY MEDIUM—CHAPTER I (Or how I traded art school for my ‘women,’ Iliad style…Now
that is a noble cause…)
Recommended Screening: EXXXHAUSTED: The John Holmes Story (believe me, I know
how he feels, even after maintaining somewhat of my virginity for almost 7 years
now…I guess what matters about trips to the hospital is you always find out that
you have no diseases and are intransmutable…what a relief!)
Poetics and Materialism ‘Curious’ having a body seest ‘consuming wound’
LYRIC SUBSTANCE|SUBSTANTIAL ROLE
Modern reader
Take a pair of six sided die and no two roles will have equivocal natures
1 2 3 4 5 6
12
2 4
3 6
4 8
5 10
6 12
Increasing incorporeal/modern lyrics—
Heidegger diagnostics root science
‘age of the world picture’
‘open place’
Now, here is a Wittgenstein proof that all equations must pass to enter the
level of Gen-Y
‘they are all the rage’
P or q
Truth or possible
True or False
False or True
Truth or grounds
Numbers or propositions
Truth
p-must be true for all equations is it true or false or a mere proposition—
two negations create a positive
assertion of the falsities of incorrectness.
If truth and negativity connect—tautology—or order in justice revolves from two
oppositional words—in other words let’s say “x” is a situational ethic and
fulcrum times ethics demagnetized by falsities times assertions digging such
bulky nights of dim last descriptions. This too is meaningless (remember, by
Wittgenstein’s own Philosophical Investigations, the only way out is a number
series of zero’s multiplied by zeros to even level absolute zero (-270 degrees)
Joke: “Everytime I touch ‘page’ I’m a mushroom cloud deflecting
motherfucker-motherfucker!”
The only cure for Wittgenstein is more Wittgenstein (grammar school style)
Pg. 123 (Tractatus)
A priori meets a posteriori
Pg. 123
Operatio N’
N’=Third truth-function
(Nominal)
(E)=2nd truth-function
(nous)
Omega (to the first power) times (nous)=(sentence-operative)
Pattern your sentence here
[2nd truth, 3rd truth]
Verb noun
2nd truth
Verb]1 times (nous)
Adjective
LOGIC=[nous (adjective), verb, Noun, verb])
(transition to next proposition)
X=(structure)
Omega (to the zero power) times Definition
Sentence disappears to be defined
And
Final standard times structure to the volume of verbiage multiplied by
structure=final by the power of verbiage when one extra verb is added to the
power of use (multiplied by structure for Definition)
Or
Final standard (times) structure to the volume of verbiage multiplied by
structure to the volume of verbiage multiplied by structure=final by the power of
verbiage when one extra verb is added.
Thus here is the series
Structure=final nothingness
Or
Structure, final structure times structure
….
Structure, final structure, last word of final structure, three multipliers of
final structure…
=(or is as)
Blank word times structure
Single logic of attraction times structure,
Two logic lock downs times structure,
And so on…
Therefore substitute
(structure, truth-function, sentence operative, truth-function)
(lack of definition times structure, linking verb of structure, final verb to
the power of one addition times structure)
Dante Revisited: Twas Mahomet that went to the Inferno, not Mohammed!
SUGGESTED SCREENING: THE GREAT ZIEGFELD
LI. TEXTUAL STRATEGIES—THE TRIALS OF PRE-CRITIC ORDEALS—The longest word in the
book Disestablishmentarianisms—I –from readership to practicism, when reading,
the entire article must be read from start to finish for maximum effect. (i.e.
an author like Joyce invent them to the point of pure abstraction.)
II.—The formulaic equations are an undead theoretic mind fuck made less
disastrous when evened out by the “shape-land.” Only elliptical narratives
within a box of dogmatic “isms” square frame can salvage a perfect memory—
III-“What if in the future every movie played on a loop on its own channel?”
Every constant must stand alone—every substance must travel—Formulaic delusions
pass through an eye of a needle by remaining humble, lowering egotism and
dissolving class built hierarchies of linguistic burgoise heresies. Then again,
isn’t honesty humility?
IV
Designs are linguistically annihilated when war tine defies sentiment and shreds
through a history like a bat out of hell—language is like a rotating looking
glass that repositions itself in one room in order to see and reflect another
mirror image so we can all speak to each other in a collective phase. (A Time
for Peace)
V
“James Joyce, the only writer with balls to show up to his own funeral and eat
himself while in living form—see also Finnegan’s Wake.”
Only a chain kept tight will stabilize an effect of darkness, but there is
always room for shadowy knowledge…looming together words that create a
coloration to a background of lit up resources.
VI-“When textual pressure releases outsiderness is achieved, but don’t forget to
return into the language cavernous canon to remember the words”—Plato’s Cave
Mythos (cont)
--literature—structure
--vignettes—multi-layered design
--epiphanies—comprehension
VII—In programmable luscious origins of evolution’s progress and anti-progress
dark critiques resonate with dilemmas to be solved through detection.
Subliminally speaking generative codification restores through word
discovery—dead language resurrects honesty of a comfort-zone and that alone
LII. JAMES PHELAN
--Narrative as Rhetoric—
Magic Gird pt.:
Interiors---logic----Probe
Exteriors---logics---Guides
Power---formula---Time
Essences----formulas----Moneys
End---equation---Division
Begins---equations----skeptics
ii.heterodiegesis—(multi-narrative inclusion)
(within the text of presented happenings without effects)
HEBRAIC SIX POINTED STAR—Star of David
Lantern---Golden Light
T=taleph Confusion
Clarity is not equal to ||||||||
LIFE Death
(positive words) (negative words)
Edwin Porter’s
GREAT TRAIN ROBBERY
(1909) “There is no excuse to hate on any film before or after this one…
Theft-----dance hall------lost woods
Protagonists stimulations-------dance halls-----train gun battle
DECONSRUCTION
Impose
Random Structure Meaningless
For
Life
PRAGMATISM
iii. static---prism---light
colors===----darks
same-----spectrum----difficult
differences---spectrums----easiest
work-------money----servitude
labors-----moneys-----manuals
iv. Institutional Magic
--Politics of Interpretation
After Poststructuralism
Words and thoughts generate conceptual reality---positive words increase
life-spans, like the phrase ‘happy to be here’ or as a way to change a system
antifoundationtionalist
Or
‘rhetorical interpretation’
In other words the more you read a document the less it seems to change—but only
a modern/postmodern text changes while you read it to meld to your conscious,
particularly when read in sequence.
-
Rhetoric—
Knowledge---respect for authority
Feelings---equal treatment.
Values---discipline
Beliefs---(all beliefs are free to have but not all are free to share.)
Author, text and audience
Interaction---value in media to charge as populous change…exchange---monetary
for consumer product…
UNIT TWO (POST-FORMALISM)
LIII. (zenophilia—a love for cultures and differences, without necessarily
changing) –A.S.
Ferdinand de Saussure
Pictures and words form mind imprints of concepts—
Sound-images-‘phonemes’—sounds and syllable (if a word starts with a letter that
you hear starts with a letter on a page then the concept is combined.)
Sign concept sound-image
---- ------- --------
Word signified signifier
2.I---arbitrary sign
1.Nothing always means what it means in linguistics
2.Words mean different things in different languages (especially similar
languages---see also---false cognate)
Symbol---particular characteristic of rudimentary bonds between signifier and
sign.
Arbitrary---no significant connection.
2. Linear Nature of the signifier/signifiers are strings of thoughts, ideas,
theories and actions that come across either positive or negative (rigidity
leads you to think in only one mode.)
LIV. Claude Levi-Strauss
Levi-Strauss’ structural study of Myth
Essay response:
Not everything can be explained in words or perception actionless thoughts and
intentions have no consequences. Computer programming begins when number strings
are organized in patterns and then set to a graphic chart
Like a grading scale where an “A” is from 100-92, a B is a 91 to an 83, a C is
82 to a 79, a D is a 78 to a 75 and an “F” is everything below…this gradient for
Master’s studies follows this formula A=(0,0) (-2,-2) (-4,-4) B=(-8,-8) C=(-32)
D=(-35) and F=(-50) to set a certain curve gradient in order for the class to
follow along…
Oedipal and post-Oedipal studies lead me to believe that men are sexually
attracted to their mother’s due to memories at childbirth but puberty makes this
urge go away. Also, male children develop hatred toward men that seem to
threaten their mother—this goes on forever. Centrifuge (sic) exists in mythos
(all art forms have myths as well as all religions---today myths are endlessly
mixed, matched and changed anyway we want them to be and we get away with it. AS
long as the ethics are preferably “humbling” (or any other ethical facet.)
LV. GERARD GENETTE
FRONTIERS OF NARRATIVE
“Words mix like chemicals---some are conducive to structure (left-wing) and some
have a standard (right-wing) in the middle ground is pure abstraction…”A.S.
In the crossfire of linguistic interchangeability only a suspension of
theoretical discourse creates an irritant that either makes or breaks you. In a
way only film stock of a reel of pieced together frames can create a loss of
politics and religion. Only cinema has the power to stop pointless war,
religious heresies that make no sense to anyone except those at the top of the
totem pole, and by the way, a true cineaste gives up everything for
cinema---most artists take this route to improve work on their projects without
attracting a wave of muck-raking—although there is always room for fictitious
fan cults—a D.W. Griffith-esque fancult—in his bios he lied about everything to
cut off outside propaganda at the quick—The reason BIRTH OF A NATION is racist
is because of suffrages of people that care only about film and do not care what
message they send. Incidentally, the more power, time and money you submit to a
singular idea alone, focus often occurs. Artists that have very little capital
make decent art as do artists with a lot—it is an important hidden alliance.
Then again, old methodologies produce more alliances with old methodologies
generating ideas that are out of date. The day for racial oppression is
over—although sometimes it takes the world’s most ‘racist’ film to commemorate
the end of racism.
Anyway, Gennette links intrusion with narrative contrary to “laws” of
taste”—what you cannot love you fear (filials vs. phobias.)
Then again, doesn’t problematic authorship end the idea that all art is
collective and created only by ideas and words plucked out of a collective mass
of universal texts? I believe that even these ideas are similar in that they are
both overused. (structure or standard.)
LVI. JONATHAN CULLER—LITERARY COMPETENCE
Only use words you are willing to defend with ideas that work out in formulaic
abstraction—if a word does not suit you or will defame you, it might be a bad
idea to use it.
“metaphorical operators are semantic transformers”
Poetry—“harmonious totalities, autonomous natural organisms.”
Wisdom and knowledge are only a variable way of looking at factual truth.
Prototype is a selection of plausible mode of representation, particularly
related to performance, character and persona. When qualified by a stratum (an
ideal choice of selecting words in a pool of collective theories, knowledge,
thoughts, coincidences and things heard and unheard.)
A picture of an object produces an effect of objectification when the viewer’s
interior baggage is nullified. Subjective values, however, rely on an attachment
to exterior resources (materials—materials as in this case of writing, the
object is to read an article in a book and writing about it with pen and paper.)
Thus , materials access the goal of inferential thoughts through a trial—in this
case the goal is criticism—thus, if this message is never taught then the whole
point goes to waste (even this is not a problem in a ‘trial and error’
substratum or post-contextuality’)
LVII—TEXTUAL STRATEGIES
(sample)
UMBERTO ECO
MYTH OF SUPERMAN
By way of examining comics and other arts—Eco lays off the heavy pop cultural,
low-brow cult and focuses only on the value of interwoven stories, which create
reliable fantasy. Superman’s love life completely redeems him for Romantic
females, while his good versus evil approach will always work for everyone.
In his article, Eco promotes the FANTOMAS saga as a vehicle for detective work
in an overwhelmingly evil realm, amongst and wicked people that appear in many
forms and disguises. What would happen if the ‘caped crusader’ fought the
villains that ‘Juve’ fights in Fantomas?
It is an impossible combination because Superman exists in aesthetic
metaphysical dreamland and Fantomas, while a touch of the occult spices up the
viewing experience, it is still bound by laws of physics.
Are not comics only physically amicable in package (materials), while
metaphysical imagination empowers them through conduits of interlocution?
Whereas, film as a Bazinian camp would have it is an imprint of what is seen by
the camera (albeit objects are manipulated in formal camps, as well as realist),
thus films are quite respectively, physically and mentally bound, at least until
they become a bit more interactive—between collective minds and imagery.
(misc. regeneration)
Variable dispensation (simile)
Random condensation (metaphor)
LVIII-JACQUES DERRIDA
Structure, sign and play in the Discourse of the Human Sciences
“No doubt that by….organizing the coherence of the system, the freeplay of its
elements inside the total form.”
Eidos—essence—form
Constitution of structure
Process of signification
Arche—esxistence---origin
Totality of an era—(play, interpretation and sign—or self-proximity,
onto-theology and paradox.)
Telos-substance—purpose
Formal schema, cultural anthropology
(dislocating to metaphysics_
Energeia—substance—energy
Element of discourse
Measured by critical rigor
Problems: economy and strategy
Ousia—being
Thread between nature and culture
Physics and names…physics and technique
Nature vs. culture nature vs. art
Aletheia-truth
Ibis—the center of attention (in a for the moment atmosphere)
Variable universal norms—
No longer tolerates nature/culture opposition
Factum—a viable theory until refutation and repudiations dissipate caustic or
'inethical' domains.
Ontology—reintegrate culture into nature/reintegrate life into physiochemical
conditions (see also Levi-Strauss’ Savage Mind)
Freeplay-a field of infinite substitutions in the closure of a finite ensemble.
Ethical wisdom—unwavering test of endurance
(hold on for dear life)
Conception---without deception
Formation—formula creation
Gestation—nourishment of words
Labor—necessary pain (inertia, impetus, initiative
LIX. TEXTUAL STRATEGIES
(sample)
A LIST OF SOREN KIERKEGAARDS’ (pseudonyms)
Victor Eremita (victory for my auntie…loosely translated)
Climacus (climax character)
Anticlimacus (against the climax character)
Frater Taciturnus (Father Cumbersome…loosely translated)
Constatine Constantius (secret sustained)
MICHEL FOUCAULT
‘What is an Author?”
Essay Response:
As a result of practical nominative sooth-sayers of postmodern discourse,
Foucault chooses polysemical modes to repetitiously untangle anti-hegemony to
devaluate an inner struggle over posited exteriors---However, authorship is a
function practiced well when rigid guidelines are publicly treated (only in a
realm of literacy does the malfunction create a lightened up mode of
anti-bigotry. Foucault accepts author’s but admits that tributary streams lead
to a holistic generation of random nominals to verify variables in a social
norm. In other words, if a singular piece of fatalistic canon brings about
logicians that only require one mode of thought-processes, then reciprocity
commingles with workable institutions of modular reenactment, historicizing
philosophical values that work together to mitigate postulates whether they
classify origins of meaning or preferably fade into non-existence.
LX. TEXTUAL STRATEGIES
(sample)
Roland Barthes—From Work to Text
a. Method—the Text is experienced only in an activity of production—(modes and
phenomes to epistemologize and or to process thoughts) are won by gifted
practitioners. In short everything improves over time.
b. Genres—Behind the opines of paradoxical ‘doxa’ (opinion) a reductive collapse
of hierarchical strands reiterates the core value in a continuum of collective
artists and critics that value them
c. Signs—a work conceived, perceived and received in its integrally symbolic
nature is a given textual ‘unit’—(deactivated hostility toward misunderstood
levels of reading recreates a simplistic approach to integration.
d. Plurality—a variety of substances and perspectives: for examples—lights,
colours, vegetation, heat, air, slender explosions of noises, bird-calls,
children’s voices, passage, gestures and clothes of people (all is incidental)
e. Filiation—a determinism to reenlist support from previously denigrated adroit
readership, limited only by the physical presence of words on paper—in tangible
sense.
f. Reading—a continuing body of growing theories, groundworks, precedence and
obsolescence to reiterate preparations to gainful employment.
g. Pleasure—to judge a text, to master philosophy, to analyze inherent
value-codes, to confessor over arbitration and decoder to repracitcalize
informalities all for writing practitioners.
XLI. PAUL DE MAN—SEMIOLOGY AND RHETORIC
Essay response:
In light of an effortless act of charitable contribution, after reading DeMan
there are several courses of action that have been debunked and deproblematized
through endless analytic/ideological treatments, belying the quest of critical
grandeur is through treatments of superior practices of dezoning invaluable
words, which will not bring an end to traditional practices, it will only
stabilize friction created by political speculators, money driven experts, and
over self righteous religious nuts that thwart artistic practitioner’s from
their “far beyond driven” evaluative textual references found through-out a mess
of deliberate anti-structuralism blazing through the minds of the past to unlock
secrets of the future, in event reinvent time and space for a comfortable
position in the present.
DeMan’s position is clear that context is the value of allowing every art
maintaining a self-reflexive enhancement with its own critical approach towards
itself to blend into fashion, through and type of spectatorship or readership
imaginable. Therefore, no single canon is big enough to hold down the definitive
canon, which is without hierarchy (or ordered by individual spectators that rise
to the challenge.)
NEW UNIT (3)—READER RESPONSE
XLII. Textual Strategies
(sample)
Han’s Robert Jauss
Literary History as a Challenge to Literary Theory
“isotopy—transposed into an immanent syntagmatic horizon of expectations…in the
expansion of a semiotic system (that….[develops] and the correction of a
system.” In the arena of emptiness and with the deluge of resources equipped,
the dogmatic approach to the arts is rectified by qualifying internal
reprobation—to instill a lesson plan (for the last man or woman on Earth) of
non-hierarchical disposition, for which critics are eternally irreproachable due
to their own personal cache of uses and misuse of empirical evidence (s). In
accordance with “played-out” facsimiles and tired out mind games a, new theory
will catch the “acts” in order to eliminate strands of meta-nomers (numbered
words) to alleviate psychological pressures and unfounded disturbances (there is
a time and place for everything.) In turn, classes will experience an eclipse of
social-references as a lack of total impulsive eschatology. In defense of the
receding markets, which float off into their own encumbering and bearable
illusory qualities without returning to abnormality through a careful alliance
of multiple texts.
XLIII.
Textual Strategies
(sample)
WOLFGANG ISER
THE READING PROCESS:
A Phenomenological Approach
I-As soon as delusions of grandeur are concertable to potential fulfillment they
must be cut off to disable to the battleground of the will. (As in, a member of
a family members death, see also ‘sentence-thought’.)
II-Anticipation and Retrospection—
Be a quick thinker and thoughts will display themselves in a viewpoint of
over-hysteria, which in retrospect over-inflates the will and leads to
irresolvable hybrids.
III--Expectations revealed in sight
a. Telescopes help us see the origin of life
b. Microscopes help us see the origin of life
c. Cameras take in all the data for later display
IV—Thought Fulfillment
--adroit—dynamism of operation
--affirming—illusion-building
--art-the meaning of it all.
V—Cessation of self-alienation
Poulet, “is dependent on two conditions:
1. The life-story of the author
2. Individual status of the reader
XIV—Textual Strategies (sample)
Norman N. Holland
The question: Who reads what how?
Essay response:
There are several out-moded and out-phased approaches to the theoretical
framework of obsolescence, which reiterate functionability in a world obsessed
with madness. First, does it work to read a text by way of taking on its
problems onto oneself in order to psychoanalyze away its ethical dilemmas? Or
are there institutions to trust with your life once a rigorous thematic metaphor
is altered into life’s conscious slip-stream of totalistic values.
If a counter-hegemonic text can balance the teeter-totter of political hokum,
ethical nonsense and founded fears of death, would it be worth the risk? What is
the point among readership at which, a narrator breaks down, as well as the
reader, to the point that no one is allowed to follow along except some
monstrosity of elitist, aristocratic dung-heap ‘hung-deep’ or a half-cracked
insult artist having trouble keeping up with a workload?
To bring about lack of compromise, there is only one way out—don’t take too much
on, unless you can handle it. Whereas, the task seems simple, distractions,
illusions, hypnosis and other mind games are all ways to derail you to the point
of deadly interactions with indistinguishable textual literacy. Subjective
readership in this balancing act across a tight-rope is preferable.
LXV. TEXTUAL STRATEGIES
(sample)
Stanley Fish
Interpreting the VARIORUM
I and II—the sonnet
Meter-rhythm pattern
Tone-pitch and cue
Rhyme—(sonnet mold)
To follow a sonnet pattern,
The closer you stick to a formula, the better the sonnet
RANDOM SONNET (workshop)
SYLLABLES COUNTED and COMPARATIVE RHYMING
(S) (x to y)
Lines (in roman numerals)
i.
Or my shamefulness will use up a place
S1 2 3 1 1 1 1 1(x) S=10 x=place
ii.
Sins cut like Earth, out of
S1 1 1 1 1 1(x) S=6 x=zero (no rhyme)
iii.
Tyre’s ache and quake
S1 1 1 1 (y) S=4 y=quake
iv.
With my ledge invert music to bake
S1 1 1 2 2 1 1(y + y2=quake---perfect rhyme with bake)
v.
Hidden values or pointless’ will not anul
S2 2 1 2 1 1 1 x=zero (no rhyme)
Man’s race
1 1(x+x2=place---perfect rhyme with race)
(THE SONNET MUST BE 14 LINES AS TO ADHERE TO TRADITION)
In other words
Sonnets follow patterns
Patterns are reductive
Simplicity receives complexity
Problem—If a sonnet is only mode will not poetry become a singular method and
become all too homogenized?
(TO BE CONTINUED)
(After documenting an event, disconnect and recharge the battery pack for
starters)
THE MAN WHO READ TOO MUCH (Rules)
1-Loyalty and fidelity to the text
2-Dig Deeper
3-Take a breather
4-Link all personalized webpages
5-Practice ‘Platonic’ Math
BOOK X (end-game)
If you died and could come back as just one animal, what would it be?
Example answer: A panther
Movie business quotidian:
If the profit margin is roughly $1,269,000 (i.e.)
Then the royalty percentage (per screening on an international level) should be
a cut check for $4800 for each above the line Player.
With a NET LESS ZERO
LXVI.—Textual Strategies
Judith Fetterley
(sample)
INTRO to The Resisting Reader
Essay response:
Passive resistance is a cure for all, because in silent solitude egoism drops to
all time low—in an act of tyrannical humility—forever submit your powers to
those who have already achieved and answers to life hardest questions will/won’t
come to you.
Like in a remedial BAR exam; What is Justice
Simple answer: A balancing of scales…
The heresy in over-masculinization is because of a supreme natural order that
will be detected and dissolved into egalitarianistic practices, which may pave
the way for new nature’s to take over, freedom from “hegemony” will relieve
tension from over-empowering anti-feminist cultures, unless they exist in
nature’s way.
LXVII.—TEXTUAL STRATEGIES
(sample)
PETER RABINOWITZ
“In Hillel we find an erasure of war through defeated memories…to forgive and
forget is unconditional, however there are some things that are forgiven in
order to improve society, just don’t forget they happened.”
--Aaron Sheley
“If the aristocracy wins it all, everybody loses—“--J.S.
Who Is Reading?
Literacy when handled carefully comes to everyone, however, if mental
masturbation persists readers wind up in No Man’s Land—make a game out of it and
a moment of ‘clarity’ will stabilize the equation for everlasting value.
--
The Value of Authorial Reading
While it is not polite to read with authorship—a mindful reading will build
walls in every direction (metaphorical walls) always with the ability to break
them down. In an extreme liberal stance this could mean that some words were
never meant to be acquired.
--
Difficulties of Authorial Reading
However, nothing intentionalizes stimulus better than inertia (metaphor—an
oyster creating a pearl) (metaphor—an oyster creating a pearl) (metaphor—an
oyster creating a pearl) (metaphor-compressed coal creates diamonds.) What
happens when these secrets fall into the wrong hands—in a humanist perspective
there are no wrong hands (except stolen ideals)
--
Rules of Reading
1. Persistence of Intertextuality
2. Division of Intertextuality
3. Displacement of Valuelessness
4. Returning favors to the authorial inventor by pressing upon the fact that
there are more intelligent inventors, who are far more creative in the first
place.
(GO ON TO NEXT PAGE)
NEW UNIT (FOUR) PSYCHOANAYLSIS
TEXTUAL STRATEGIES
(sample)
(AUTHOR’S NOTE: A few months ago, I threw the perfect ‘rock’ concert at THE MESA
LAKES LODGE, headlining DAVID LUFF and JOSH B. featuring SHOTGUN HODOWN, and
opening with Folk Singers Kat Hunter and friends…the perfect eclectic audience
(from those invited to those that accidentally showed up) and even the FBI
showed up to ‘bounce’ the ultimate Grand Junction venue…Believe me I’m a still a
slight bit ‘hung-over’ but the only cure for this is more ‘hang-overs.’
XLVIII.
Harold Bloom—
A Meditation upon Priority
Essay response:
1.Clinamen—pro-climax without defeatism or fatalism
2. Tessera-Go as far into the text as you want as long as you are helping your
brothers and sisters
3. kenosis—Energetic stylings
4. Daemonization—Over-generalization to the point of honesty.
5. Ashesis—True admonition, security and stability with honors.
6. Apophrades—Effective practical responses to a theoretical mind-game.
XLIX. PETER BROOKS
(sample)
Levi-Strauss—
‘atemporal matrix structure’
Question: What is psychogenesis?
Answer:
Cathartic healing power combined with an overload of metonymic (or demetered
practicalities) which, transfuse into a latent dispensation of interesting
expectations.) The ethical point of solution is where willful physics and
playful metaphysics vanish—for a time.)
However, not all elements were born to mix unless authoritative masculinity
devalues its pressure-cooker of highly analyzed monstrosities of indeterminable
lore and empirical datum remains rigid for work process only—
Continuums rise and fall in this world and getting used it makes all the
difference—when good and evil return to living unified fruits of pure
labor—wisdom and age approach us all.
TEXTUAL STRATEGIES
(sample)
LXX. Jacques Lacan—
The Agency in the Unconscious or Reason since Freud
I. The meaning of the Letter ideogram
VOT TOC- (Greek letters for) ‘is like and as nostalgia’
Deus ex machine—is like and as
Wandering healing meets roving disillusionment
Apparatus and ethics
Invalid—to use or not to use—
II. Letter in the Unconscious
PERIPHRASIS--|DELIVERED FIGURES|
(side-view) \___catechresis (dissipation)
Hyperbaton—litotes
(kinetics) (words in quotes-litany)
Ellipsis—telescopic vision for example
Suspension—disbelief to create belief
Negation—intentionally over or undervalued.
III. The Letter, Being and The Other
LETTER-Space between art and science
(nature’s (growing
Truth) knowledge)
BEING—formative reproduction of reality
(unrealistic ideal)
Other-nonsense to bring about sensory perceptions
i.e. “I really want to get Dr. Obama re-elected, but how to create another
landslide victory?”
I shall not want / nonsense
Sacrificial—Survival
What we | for existence
Are willing
To give up
TEXTUAL STRATEGIES
(sample)
LXXI. JANE GALLOP
From Reading Lacan
Essay response (duly noted):
Metonymy
Functionable (symbols and signs)
Multiplied by more plural signs congruent
Example:
Because Adam and Eve ate rotten fruit, they were removed from Paradise. (maybe
they were eating from a bad root.)
Metaphor
Functionable (Signs divided by existential Signifier) (congruent to) (Signs and
signifiers)
LXXII. Bollywood is the Garden of Eden of current cinema.
Julia Kristeva—
Exegetin auton—to interpret—God/man—one evolves away from the other—
New Commandment if ideals merged:
Thou shalt not die.
Humanist—Don’t put yourself in harm’s way.
Purity comes to those who are quickest to be sorry and quickest to forgive.
“infransyntical—theme, rhetoric and subject-addressee”
Nothing changes once read and watched enough. Until it is meant to—total
singularity exists in the artistic artifact of the ages.
NEW UNTITLED UNIT FIVE
Kristeva continued…
Preface Marx critique’s capital transformation of the superstructure manifests
in conditions of production.
I-reproducible by print lithography is essential for distinguishment
II-reproduction of work—traced outline of an original
III-changes in the medium
Are the aura!
Sphere is noticeable
In variable realms
(example TV deserves to have different genre-channels for all different genres)
IV—basis in ritual recognizability. (Walter Benjamin was Here.)
V-received and valued on different planes—photography and the film are the most
serviceable exemplifications of this new function.
VI-What is the ‘cult’ value of the picture
1. Inner historical occurrences
2. Fused with an outer viewer.
VII—incomparability in means of expression (although I must admit it is a
“slow-ride” of about four hours plus…)
Ex. Abel Gance’s LA ROUE—an epic tale of a train engineer’s slow-ride through a
hard won work ethic, which leaves technological advancement in its wake and
discovers the inherent values in defending a family.
VIII- acting exists in a public sphere to be in constant pattern of textual
tests.
IX—film theory
“Did sound film change the motion picture industry?” Yes because everything had
to be re-wired.
But no, because it is all part of a Bazinian “Myth of Total Cinema”
Arnheim argues that silent film is unbeatable and will make a major comeback in
film clubs—a proven fact.
X---Are commodities fake?
No, because they constitute a fair market
Yes, because they tend to salve meta-ethical problems without transgressing the
press to set it free—in fact film works out over issues so people don’t have to;
illusion – promoting spectacles create realistic speculations.
XI---Cameramen are like painters—Mechanical equipment must be set free from
convention to become like a “Vertov”-ian MAN WITH A MOVIE CAMERA Kino Eye effect
(which sees all, example GOOGLE EARTH) (a flawless Soviet anti-propaganda film,
which intensifies the use of camera and montage, revealing the merge of acting
and machine—in fact, it goes down in history as the world’s greatest
experimental film—or at least among the greats…a good warmup film to watch
before shooting an ‘indy’ of your own.)
XV—Spectacles require no concentration and presupposes no intelligence. From
skillful monastic Buddha statues, paintings and artifacts when even in a Modern
aged medium of silence and craft nothing deserves to be decimated that is part
of this non-decayable art.
Epilogue—never seek to express while preserving property—although a little
politics in art go a long way.
LXXIV. Textual Strategies
(sample)
Theodor W. Adorno
‘Because books are weighted the words have already been written and read…’
From Minima Moralio
Bequest-atrophy-the reward is an absence of rewards. It is absurd to make an ego
out of an author, except to deflect other people’s insults at them.
Static—reflecting a belief in characters and events.
--
Late Extra—
Industry—a design of infrastructure that develops commerce and recreation
SEXUALITY—a healthy attitude to have in life—to be suppressed only into
politeness
Illusion—a much needed collision course with other peoples sins against each
other, to relieve our own.
LXXV. Textual Strategies
(sample)
Georg Luckacs
Essay response:
In a schooling competition of driven hunger for an end to social pollutants and
mish-mashes of common decency the quickest way our is non-conformity. In fact,
theoreticians are waiting for the day when other critics unravel mysteries of
lives through a growing body of energetic responses, that will instigate a
leveler in part to unredeemed the redeemable. Mixing and matching patterns and
waves of amusement does not impact society negatively (and even if it does, the
careless ones will be left picking up the pieces of harmful mental
characteristics even if thoughts are not monitored by a new brand of oppressive
“psychotherapy.” What then is the solution—laughter, fun and a quicksand of
mild-mannered thoughts impair our vision for a longer ride through the land of
critic-mania.
Then again, he who shoulders the burden for the entire gangs misery, depression
and manias finish first (however, declining a treasure trove of awards will only
heighten the awareness of accolades.)
LXVI. Textual Strategies (sample)
General Mode of Production (Terry Eagleton)
Historical and economical
For instance-one-liner
“Do as I say, not as I do,” –a Drew Casper-“ism” (a catch for all)
A four-liner
“steer your ships to the
Strait of Gibraltar
Unless your Name
Happens to be Walter.”
(Aaron Sheley)
I’ll do you one better (for a piece of rare crystalline found in the Seattle
hills and mailed to Herb Farmer without human error involved…for example.)
If it is diluted
And culturally polluted
Send us your artworks
And will return in ‘yardworks.’
(all of the above are over-generalizations)
ii. Literary Mode of Production
Unity of certain forces
And social formation
Is there a metaphysical
Approach to this eternal statement
“I think therefore I kill?”
Confessions to High School, Undergraduate Schools and Graduate Schools are
piling in all around us—to PHS, USC and CIA respectively…
Independence
Believability jouissance (French for joy and spirit)
Intelligence
Sameness
MATH TIME with number crunching economic paper slips
Take an average salary of $1,269,000 a year in a bank account of choice
(preferably American) with $4800 tax deductable acts of weekend charities
(weddings or funerals, for instances)…
With an annual profit net worth gain of 7% annual increasing interest compounded
to the nearest faction 3.5/50 is equal to 1,269,000 divided by .07 percent,
which totals out to be $88,830 (like the amount of damage I’ve done to vehicles
over the years) but saved by insurance, this is taxed out to a 2/3 payback the
next year (an equal amount of $6,215 which when subtracted by the 88,830 taxable
limit, $82,615 appears, or when deducted from the original $1,2690,000 is a sum
of all total parts, a remaining income of aprox. $287,555. (Done)
The scarab beetle what rode my bus-about made us pause for the cause of the Oz.
Movie Review by Aaron S. (First Review ever published in his career, in The
Desert Rose: An Oasis Clubhouse Newsletter in August 2006 dedicated to JOJI, a
keeper of knowledge.)
“PAGE Four) -- THE WIZARD OF OZ
Of all the greatest fantasy films none rival the great musical Oz. Victor
Fleming is on the helm and Judy Garland in the lead.
The film is satirical toward political and philosophical viewpoints. On a whim,
colors explode vibrantly onto the screen when Dorothy’s house magic carpet rides
on a tornado toward Oz landing on a witch and setting off a chain reaction of
all things including a witch and a wizard needed to get Dorothy back to Kansas.
The three characters she picks up dance along to their edge and this reviewer
sees the scarecrow as religion in need of mind, the tin man as technology in
need of emotion and the lion as politics in need of backbone.
The characters dance and frolic to music that also works if a viewer were to
play Pink Floyd’s DARK SIDE OF THE MOON simultaneously with Oz’s imagery to keep
the rumor of their matching beats going strong.
Oz develops a wicked witch plot in Act II that gives her a full slew of
opportunities to gale about, shrieking with laughter until the water element
flattens her. Now Dorothy has killed two witches, one for each ruby slipper.
It isn’t any wonder Salman Roditre *sic (supposed to be ‘Rushdie.’) wrote the
BFI classic book about Oz. The film is Frank Baum inspired, charged by silent
short fantasies like the pre-sound era silent “Oz-Worlds.”
Believe in the wonder and get lost in the fantasy of the rainbow.”
--For Rushdie (and him alone)…(for telluride 2001 film fest)
(TO BE CONTINUED)
TEXTUAL STRATEGIES (resumed)
iii.) (Eagleton)
LXXXVI—
(76)-Relations between literary and General The Literary refines functions in
reproduction and expansion to find a way into mad-generalizations. Or is there a
non-hostile approach to “subordination” or submitting to the powers that be—yet
many of the Marxists are only out to make a quick buck these days.
iv. General Ideology
vs.
Aesthetic Ideology—
Question: What is the purpose of analysis without an idealist type of
generalized hypothetical ideology?
v. General Ideology meets Literature—How can mix these elements that don’t
always mix—by tying the unmixable up into cues, tests and equilibriums that
stabilize economic art no matter what its principles established
vi. Authorial Ideology
general productions of expressions of ideology (characteristics and modes)
vii. Aesthetic Ideology—
“levels” of “ideological culture”…In most societies right-wingers promote
victimizing hegemony and left-wingers promote counter-hegemony. Marx exists to
level the playing field.
viii.—Further relations—
With product placement, different visualizations of undervalued products and
practitioners of the art
ix. histories of ideologies smooth things over to level up and be part of the
next generators of words and craftsmanship.
x. literary texts are overdetermined, however, there are tributary streams that
lead to mind expansion (LSD or DMT acids to fly high with, for example…warning:
do not try this at home) and if only we disengage from materialism will the word
games begin—however, is there even a place for socialism in communism?
LXXIX.
TEXTUAL STRATEGIES (sample)
JURGEN HAMBERMAS (freelance ghost-writing in the name of)
From the Philosophical Discourse of Modernity (wish-fantasy)
Maieutic—Teaching knowledge
Already latent in the mind learner essay response: An immaculate model of
learned aporia (applied discoveries) delivers a textbook theory of sanitizing
word-games to diminish re-use of common and uncommon words that merge together
formalistically and un-merge realistically.
When writing, simplicity sells, however, it is the job a philosopher not to make
things simple, otherwise the mind would never reach its plateau of
stimulus—Currently, the blind idealism of critics that do not heed their own
words, live in a shell of isolated thought, which reproduces multi-textual
references points that deliberately challenges informative intertextuality (or a
growing body of philosophy.)
LXXX.
TEXTUAL STRATEGIES
(sample)
Michel Foucault
Las Meninas
Painting critique by Aaron Sheley:
In observance of LAS MENINAS in a post-modern dialectic as Foucault’s
(Barcelonian) analyzation of the painting’s context which heightens the whole
exciting experience. Foucault, the one man that outdo everyone at painting
analyzation (in a Contemporary Critic Context)
The painting (at least in the Critical Book) is copied in Black and
White—however its light and shade balances the image with Background Light
coming from a well-dressed man into a room through a door. The key of light of
Velasquez’ painting emanates from a spot-light-esque doorway wide open in the
foreground to the left of the frame. The fill light is faded brightness from the
other sources. Anyway, the young children particularly the young blonde center
frame center frame melds into a development of realism, only formalist in and of
the fact that it is in a painting.
However, the Classical theory applies in that there is an evenly-balanced frame
(symmetry), thrown off by source lights creating a gradient of shade) centered
between reality and fiction (although, it tends to be Realism in light of Cubism
and the Avant-Garde.)
FILM REVIEW TIME CAPSULE
TEXAS CHAINSAW MASSACRE
Tobe Hooper constructs a documentary style trip through the woods into a den of
serial-killer cannibals. Leatherface, the movie’s villain is the leader of the
vicious killers and he wields the chainsaw of the title. When a bus load of
hippies pick up a raving lunatic hitchhiker, the freak distracts them into going
off the beaten path. The horror of the film is to watch the young adults murder
one-by-one. The film begins with an unforgettable credit sequence as rotting
corpses glisten in bloody photographic carnage. The film enters a point of
chaos, especially during the cannibal of chaos, especially during the
flesh-eating dinner around the table. The madness elevates the standard of no
fixed rules excepting the brutal and inhumane prevailing over the weak. The
shock of gruesome violence reaches a height when a kid in a wheelchair is
chainsawed to bits. The nightmare is real enough to be haunting and by tearing
through flesh. The myth that is the movie will thrill for years to come.
LXXXI.
TEXTUAL STRATEGIES “If you live dyin, then you die livin…”
PIERRE BOURDIEU
(sample)
The Market of Symbolic Goods
I. Logic of Autonomy
II. Inventions have personal authorized impetus---Free words tend to speed up
inventors—Does word-crime exist to devolve the ego.
III. 2. Structure and Functioning
Of the Field of Restricted Production
Marketability and Usage
How long should an object be allowed to last—Will business collapse if some
objects are disposable?
3. Field of Institution of Reproduction and Consecration
Standardized—Structure
Structurized—standard
Only rare objects escape this mold—
4. Field of Large Scale Production “Cult of form for its own sake…” The larger
scale of the project, the sturdier the ladder for the underneath people to climb
carefully to the top (with someone at the bottom of the ladder to steady the
steps for the ‘Others.”
5. Positions and Position—Takings
Indices and sanctions
(moments that are “branded on the brain” for later use) and (memories that
should/or should not be remembered)
--
Value of money is function able aspirations rise to a point of ambition
Cultural legitimacy
And
Semiological relations:
Whatever author you read is your own personal interlocutor for being and time
Relationship with words and fasting for proof and reproof of words….
“piss aaron”—or, I can take the heat…
TEXTUAL STRATEGIES
(sample)
CLIFFORD GEERTZ
Deep Play: Notes on the Balinese Cockfight
I- THE RAID
This dense and detailed article exemplifies the magnificent array of analytic
poetry that prosaically responds to an Ugly Rooster Competition to the death,
which implicates both horrific and comedic overtones, over-emphasizing certain
words to test them in different contexts
II-Of Cocks and Men
The word being tested most is “cock” how often do you read that word without
being lured into a sexual innuendo or do you think of a living creature put to a
fight for entertainment’s sake of exploitation.
III-Odds and Even Money
Although the article hides the meaning of the bet into almost impossible to
decipher rules, the point is that there is (in a cock-fight) a fifty-fifty
chance one of the two cocks will win—thus the odds are even in business senses.
IV—Playing with Fire
The objective of a cock-fight; Also burned in this unruly dimension of words and
phrases that toss up ethical boundaries to an unethical situation equal elements
of animal cruelty and violence that have no place except in this ‘Bali’ culture,
that the context of the story takes place, which begs the question: Should a
super-culture impose any rules on systems that exist outside of theirs—or should
they stay out. This article rides the line.
V- Features, Blood, Crowds and Money
Feathers—birds use them for multiple purposes
Blood—in a cock-fight, blood is pain
Crowds—a total moral breakdown to enjoy animal suffering
Money—the offering plate at this sacrificial ceremony
VI—Saying something of something
What is there to make about an objective structural/analytic take on a cock
fight. Rigidly grammarized and delectable in construction—the whole article may
go down in history as the most two-sided dialectical rhetoric on “cocks” and
their “meanings.”
TIME CAPSULE REVIEW MODE: Comedy
Steamboat Bill Jr.
In the wackiest of Keaton’s milieu he invents a seafaring misadventure worthy of
first class cinema. Keaton produces integrated tricks and gimmicks that provoke
the giddiest of laughter. Witness his homecoming to a father he’s never known to
take on his work as a second-rate shipmate. But the storms of justice blow apart
his port and Keaton weathers the storm in one of the all time great set pieces
of falling houses and flying trees. Keaton hangs on for the ride of his life,
bravely dodging downfall to show oft vaudeville roots. Always inventive never
predictable, like a storm in the wind, Bill Jr. survives the elements in a
method rivaled only by Chaplin. Comedy comes at a high price of daring but
pushing physicality to the edge is the satire of legendary prowess and has done
been outdone in the least.
LXXXIII. Textual Strategies
(sample)
Edward S. Said
Intro to Orientalism
Essay response
First, let it be duly noted that out of respect for the Asiatic Far East and
what is/was considered Eurasia, in today’s grammatical selection, “Orient is a
bit overused, but still works in the context of this article as a nostalgic term
signifying a hotbed of foreign compatibility to reify the noteful particulars of
Asiatic practices, beliefs and statures.
Without a smattering of exploitation in intent this article compounds the lesson
of how careful to be when juggling around with the ideals of “otherness” clueing
in on tonalities of beliefs that have functioned together and through certain
twists of ‘idealism’ (found in free societies, like America) mix together
without as many problems. (American culture worships the Asian principles.)
However, neo-colonialism exists around every corner of our over-accepting
gratification of certain aspects of beliefs that have yet to be uncovered about
a culture that still in so many ways lies out of reach—for all kinds of specific
reasons, not yet discovered by our collective actions Western over-mediation.
LXXXIV. Textual Strategies---Experience is a thought process
(sample)
--Stephen Greenblatt—
Introduction to The Power of Forms in the English Renaissance—As a cause to
dissolute the anxiety-ridden events of plagues, wars and famines—the British
Royalty devised a burgoise solution as a means of diversion, impetus and
longevity, in the hopes to sustain life amidst class-structures that were
falling to the wayside to return values, social-structure and in the hopes to
defeat famine the aristocracy reinvented and reenacted Shakespearian diversions
(whether they were affordable to the poor or not remains an issue.)
King Lear and Harnett’s “Devil-Fiction”
Through “superstition” of theoretical awareness—practitioners of demonology
(this too, anti-humanist in so many respects,) played a trick on their cast and
crew by unleashing demons on their actor with “exorcistic” intents post-theater.
Perhaps the reason for a sudden belief in demons is to clear the air of the
stressful situations audience members suffer, when all hope is lost in a system
the false pretense of demonology stirs up emotions that later dissipate the
thoughts of spectatorial awareness, then all is well.
Theatrics is dependent upon the absorption and depletion of interesting value
systems that seem only to work in Renaissance theater—But why create a demon if
your only purpose is to destroy it? Fortunately, there is a sane disenchantment
to this article, which means that humanists hype up their own stress to learn to
take on other people’s problems, whence they have the time and experience to do
it. In other words, even demons have different connotations.
FILM REVIEW
TIME CAPSULE (Genre: Gangster/Musical Hybrid)
SHOOT THE PIANO PLAYER
In Truffaut’s gangster pastiche he toys with the genre nonstop creating a
magnificent New Wave second feature that captivates, as well as mesmerizes. The
brothers that the plot hangs around here have shades of Dostoyevsky finding
themselves in a scrape alongside the protagonist brother, a once famous piano
player played by Charles Aznavour who now plays for the bar scene in Paris. He
falls for a waitress at his nightclub and all hell breaks loose around them,
mainly due to shady underworld connections. Children are kidnapped, women are
sacrificed and yet the postmodern work is highly comical at times, schizophrenic
in mood. Truffaut uses split screens, elliptical jump cuts and an amalgam of “b”
movie references to noir classics. Aznavour’s thoughts are heard and are
counterpoint to his actions. He, like Truffaut utilizes the height of irony to
send over this New Wave mastery.
LXXXV. (Roman Numeral for 85).
Textual Strategies
(sample)
Hayden White
The Politics of Historical Interpretation:
Discipline and De-sublimation
Training to be a steady reader implies a certain finesse of historical
devaluation on the explosive elements of natural-historical disasters—However,
the ultimate “denial” of past debacles is, too, pointless because just because
the word “Holocaust” exists or not—millions of Jews were tortured and slain in
cruel and unusual ways by Hitler’s regime and that’s a fact.
Perhaps placing money’s power in a lesser category de-emphasizing a “Hero’s
Journey” mythos for a time is the anti-mystification aficionado cause for
historical accuracy. Whether or not, “spiritual” matter’s never resolve man’s
inhumanity to man is a predestined load of overdetermination that, too, leads to
frequent impulsive delusions—the problem with history is that it contains so
many blots and stains that the existence of a “Higher Source” is all but
vanquished but actual materialization, commodification and the lack of freedom
equal to individual experiences in a world that may never be able to expediate
the debtfulness or debtor’s blockade.
LXXXVI.
Textual Strategies
(sample)
Nancy Armstrong
Some Call It Fiction: On the Politics of Domesticity—
Essay response:
In response to the feminization of literature there is an engenderment of
awareness all throughout the pages of Austen’s emotive worth, however sometimes
the cycles of life cannot be broken until spun out of cycle. Then again, madness
awaits the woman that feels it necessary to bleed for the entire human race by
giving up materials that are still a necessity to live with for a season.
Or are they, because even if the nuclear family and the latest fashion fad are
too extreme to adjust to, then a true feminist would avoid that calamity
altogether—unless prepared to fit into an old fashioned custom of torturous
mind-games and earth-shattering dilemmas that deserve no angle of approach to be
boxed indie of mind-numbing philosophies that tend to over-masculinize and hurt
the body of the freedom of choicers among the liberals that choose to leave the
façade of equipment behind.
LXXXVIII. (88) HOMI K. BHABHA (between the author and the readers, there is no
87th Chapter!)
Locations of Culture
Essay response:
Intransigence is all around. However, there is a narrow margin that inherits
wisdom by paving brighter horizons for a consciously aware meta-conscience,
which dissolves into a non-existent conscience before all old relics go extinct
there may be a slightly easier mainstream slip-stream engagement with disaster.
Racial slurs are containments of corporate greed, slanders to keep money pumping
into some over-driven machine.
Yet, interesting old taboos are being broken all around—from Salman Rushdie,
Toni Morrison and Levinas all three have worked to preserve old myths altogether
now. Of course, the problems they have invented and are not afraid to share
often create other kinds of disturbances, yet by preserving in an article they
have infected my mind with a whole new idea of racially indiscriminate, class
conscious and social feminist strands that will clear the air of many gaps that
still exist between the moral majority and the oldest trick in the book is to
cease for peace.
UNIT SIX FEMINISM
(A work in progress)
LXXXVIII ½ (88 part two or 88 and a half--there is no 89:post section skip to
90)
Textual Strategies
(sample)
Sandra M. Gilbert and
Susan Gubar
Infection in the Sentence
ESSAY RESPONSE
The battle for feminine-female authorship is all around. From Dickinson to a
Byronic uber-female of Gothic’s advent is a long reaching wave of mind-games
that reprogram people to think and act a certain way. Or do females actually
want to break the chains of men’s sexual perversions, twisted fantasies of
Goddess or “fetish” dementia. How do we stop the misogynistic lie before it
starts?
Power in the truth will break men from bondage, but then it feels like men will
patriarchalize everything in their wake, which does in fact, create a
disturbance in a non-hierarchical feminist enthusiasms with no isolation into a
singular vision—lest the one at a time examination evaluation encroaches.
XC (90)---Textual Strategies
(sample)
Elaine Showalter—
How do you reveal the ways of mankind’s own defiler, man himself—how your
philosophy has unbound the inner woman in us all by way of ‘animae’ environment,
or feminist jouissance—However, is it possible that certain trials are far too
difficult for women to withstand?
Tell us how to approach a matriarchy without wars, rumors of wars, or prisoners
of sexual lust—How far will you go to turn the tides on a ‘Forbidden Planet’
generation of peace-keepers—What demons of yours must we eliminate to eliminate
our own. Why must men be emasculated in order to convince women of their
sovereignty—How does anyone survive royalty in war-time? How long will this
queen keep her crown?
TIME CAPSULE (film review…genre: modern gangster)
GODFATHER—Part II
In Coppola’s second installment he almost tops the first, revealing the
transformation of Italian-American culture as it is subdued and absorbed into a
harsh reality of the dark side of America. The film is witness to the young Don
Corleone played by Robert De Niro in his star turn role. He builds as a young
hopeful orphan immigrant. As he becomes a local underground Mafioso, in a career
solidifying move, he takes down a local mob boss and his cronies by sniping them
out during the famous, ‘Roof-Top’ sequence to prove his power is greater than
any previous muscle on the streets of New York.
Meanwhile intercut between the preamble and the breakup of the familial
structure, is the present day Corleone’s that continue the empire of their
father’s ‘business.’ Though betrayal the empire is nearly lost, yet Al Pacino’s
character knows how to handle adversity having taken over the family business.
It is hard to watch the near collapse of the Corleone’s with outside influences
from the American capitalist agenda of business ventures with the mob. Still a
sequel near the original is a film worth repeated viewing.
XCI—Annette Kolodny---
(sample)
Textual Strategies
(sample)
“Dancing Through the Minefield”
Essay response:
The basic concept of over-exposure to certain ideals will only expose our women
to harm’s way, which is a naughty concept that will come to an end when we
magnify them as more than equals at maternal figures over contracts that will
bind them in ‘guilt’ and ‘anguish’ over spans of history that will prove that
feminists from the future are protecting us to preserve present day feminists,
like Kolodny to unwind the chains that have been bound by antifeminists of the
past—
Maybe it’s high time the ‘minefields’ were deactivated by men that are willing
to put themselves through any process of torture to take the heat off the
ladies—Simple tasks for men help—cleaning cooking, sewing—domesticity for men,
ineffective behavior and disinfected literature for men.
Film Review Time Capsule (style: documentary)
NIGHT AND FOG
Quite simply put, among the best documentary films ever made. Alain Resnais
masters footage of tracking shots through abandoned concentration camps spliced
with actual footage from the actual holocaust. The narration is ambiguous toward
the whole evil force of the Nazis, questioning that if they aren’t taking
responsibility, the films asks, “Then who is responsible?” The film is dark and
sad illustrating without sentiment or manipulation a document of man’s greatest
crime against mankind. Resnais does no grand-standing, but is selfless in his
representation of the genocide. Pictures of a young Jewish boy shot in the back
of the head; Soap made from Jewish corpse. All is a fatal loss commemorated here
with a resounding complexity. The film begs the question: “Who is responsible?”
Perhaps the answer is: Everyone. Don’t miss this film.
XCII—
Lillian S. Robinson
(sample)
Treason Our Text—poetry time
On a lattice window
Under the guise of the moon
How a writer’s glance
Gives back more time than he owes…
To Repudiate historical atrocities
Inflicted on our nation’s women
By never allowing them to recur
Although in man’s death
We have given a women an easier
Path to travel, what if we
Hung St. Mary on a cross
Burned it and thrust it in your face
Would you then be condemned?
(Philosophy at the C+ Pass stage of the pass/no pass game: the questioning of
science, logic, reason, and interpretation with a ‘hard won’ course of practical
insights—always bound by physics, such as time and money…)
Film time\ Camera Works
f-stop low=more light
f-stop high=less light
Grammataciae Complicaneae syntactuicae complicarae
(complications of syntax in a compliant grammatical order---feminized)
Perfect
Ext/Int
Balance: f-stop—3.14
My failure to be a feminist
Whether I distance or localize the problem—the problem still exists!
Oh how Hollywood tempts me with riches---savage beauty and an incessant amount
of skillful value!
Teach us all to live in a natural world!
XCIII Toward a Black Feminist Criticism
(sample)
Barbara Smith—
In case of lack of material ammunition to eschew away past crimes imposed on the
African-American literature and theory, look into your hearts and find
acceptance for black lesbians, by any means necessary—time is running out for
African-females everywhere that are trying to get ahead in a world loaded with
drug violence, sexual slanders and the gigantic egos of white-people. Perhaps we
must fully submit our powers unto them until we become strong enough to
collaborate with them.
White people’s approach to this kind of literature (as is this duly noted author
‘Smith’) is to enjoy the world of meaningless without disrupting the
African-American canon that may only be selected by them and for them—meanwhile,
as a culture we must now only turn away from that which obsesses us to grant
freedom to an enslaved culture.
XCIV. Deborah E. McDowell
(sample)
New Directions for Black Feminist Criticism
“I am tired of the African-American media pandering to the white—“A. Sheley
Essay Response:
Bumbling under an exhibit I saw in Nice, France at an art gallery of
contemporary aesthetics with double-upside down rainbows, next to an Andy Warhol
$ sign and (meanwhile) in an underground bus-ride to Luxembourg, I exhibited a
sarcophagus and what-looked like a missing-link to evolution—Later in the
Vatican, I went to oracle land—Meanwhile, back in Nice, I saw what looked like a
Witch’s face that looked like a piece of film I lost in the USC cine-lab. The
problem with these intensely combustible elements—That’s the problem with
‘white-guy’s’ art-tour—there’s no ‘Basquiat’ in it.
XCV.
LAURA MULVEY
I. Introduction
a) Political Use of Psychoanalysis
For example, as long as we gaze into one type of text too long, we never forget
what happened by means of logic, order, standards and structures—but then how do
we pull ourselves together post-political nightmare—for instance, if ‘Camp
David’ (hypothesis) were to pull out of the war zone and return to an uninvited
‘music-land’ then maybe the psychoanalyst nightmare inflicted unto them would go
away.
b)Destruction of Pleasure
Then again, some rules were meant to be broken in order to regain sanity after
the whole world goes ‘up-in-smoke’ over a couple of lousy coin-tosses.
II. Pleasure in Looking/Fascination
Here we reconstruct our ‘gaze,’ ‘Men are the privileged in classic texts’ ‘Women
are the objectified slave here’
To subvert this formula in a classical context is impossible
Women are practically sequestered into lesbianism at this phase, while men just
don’t fuckin’ give a shit---
III. Woman as Image
a. Man as Bearer of the Look—
Modernity brought us to the ‘ideal’ space of femininity, but somehow ‘Mulvey’
gives me the feeling that this too has been overmasculinized, save in ‘Godard’
or ‘Rivette’ or ‘Resnais’ or better yet, ‘Varda’ (Cleo From 5 to 7)—even Poetic
Realism of ‘Renoir’ and ‘Carne’ (all filmmakers) has a space of loosened
bondages against misogyny.
IV. ‘Mulvey’ as an American, defends a certain space for Sternberg’s ‘Dietrich’
or as I lay claim to any man’s ‘Garbo,’ yet even then I fear that the egotism of
contemporary American Males is leading us into postmodern ‘harm’—unless it is
oft-quoted ‘irony.’ What will the new space of the natural—un-goddess Earth
woman be like?
XCVI. (96)
‘Helene Cixous’ TEXTUAL STRATEGIES
(sample)
LAUGH AT THE MEDUSA
Only the beguiler—threshold guardian—can out beguile the beguiler—In the words
of ‘Thomas More’ in utopia—they who laugh away the blues in an atmosphere laugh
away the blues in an atmosphere of dissension proves that even the Medusa’s
issue can be resolved. The Freudian way out would be to adjust the mirror until
she’s no longer ugly.
To tame the Medusa, we must quit equating our women to the biggest ‘bitch’ word
and allow her to devaluate our ego to the max—If Medusa turns to stone, we all
lose—This too, in Biblical terms, happened to Lot’s wife when she turned to see
her hometown roasted due to angel-rapists. Can Medusa save Lot’s Wife—the Bob
Dylan approach to this ‘Don’t Look Back’ theory is inevitable—If you don’t like
what you see in the mirror then claim responsibility for one set of guilt at a
time—unless the ‘kinesis’ passes away.
__NEXT CHAPTER dedicated to Lee Thompson and Luis Villanueva
XCVII
TEXTUAL STRATEGIES
*sample
Luce Irigaray—
This Sex Which Is Not One
‘As women are being drawn and quartered throughout the Globe, feminists have to
punish us with challenging word-games to end the anti-feminist—However, there’s
always room for inertia, because only an antifeminist can become a profeminist
in Nietzschean linguistics.
What would a woman be free to do as she lives without being under a man’s
guise—for instance, in Abbas Kiarostami’s (sic) Iranian ritual movies there are
women who are in a tight spot ‘see also ‘The Wind Will Carry Us,’ and how there
is a time for ritual and a place for everything. Do you understand?
Irigaray—is not for one willing to follow some bullshit masculine God theory
just to save face in front of some non-existent Christian crowd—because all
Saints dies for a cause—I claim philosopher saint on this page for avoiding the
confines of men…
If incest occurs (like it has in many families) how far would you be willing to
go to save your brothers from this pit of hellish distractions without becoming
a fiend of the apocalypse?
And in Foucaultian terms, you have warring words for the block, like my ex-wife
gave me the sexual thrills of three lifetimes, which in and of itself is a
tactical component of an alliance without the availability of being deployed for
any mission but his own manifestation of building dream-lands and nightmarish
beguilement for future generations to carry on myths.
(GO ON)
TIME CAPSULE REVIEW (genre: comedy style: farce)
M. HULOT’S HOLIDAY
The strange vehicle driven by M Hulot pops and shakes down the road, determined
to find a place to spend the holiday. Tati is meticulous to the detail of
comedy, fixing every element in his universe as a gag or pun. It is strange how
he gets lost waiting for the train, moseying up and down stairwells, repeatedly.
When he opens the door to a restaurant, wind blows away the other patrons. And
his car, who can forget the quaking heap of scrap metal. Monty Python is known
for saying, “this is the best comedy ever.” It is certainly among the best, as
no other auteur expresses comedy quite the way Tati generates laughs with his
perfect timing. He uses every element in the frame to attack the audience funny
bone. This reviewer has had many in ah holiday in which something has had many a
holiday in which, something has had many a ‘Holiday’ in which, something would
go awry and instantly it is a reminder of Monsieur Hulot. He stumbles and
bumbles his way around a preconceived staging and prefabricated pitfalls. The
engineering of laughter by Jacques Tati must have been a laborious account as he
always oversees the film down to the tiniest detail. Always a perfectionist,
Tati reveals his humorous characteristics that allow for a range from the absurd
to the hysterical.
XCVIII (98)—Textual Strategies (sample) Michel Foucault—egotisicae—feminine
humbling
“You are building a roadmap into philosopher’s development hell, do you
understand? That is all this amounts to—so let us run the gauntlet of critical
differences, before we sort out our differences.”
Here is how to explain the magic of the ‘phoenix-down’:
It is a phantom ghost gate trick that sends the undead into dust particles,
breathed through the life of an Indian schema with knowledge of the peyote-ian
Kiva.
Here is the value of water-power
1-series of aims and objectives
2-presides over rationality
3-headquarters where water is deterministically made soluble for all purposes—
Cinematic power
Strangers on a Train teaches you there’s no one you can trust, including your
own alterego—save for those willing to remain a prisoner to this rigid prototype
of textual implications—for instance, there is a queer reading of the film that
has been stalled for further notice.
FORCE of LAW—Sovereign
1. In a Greek world, justice is blind
2. She sits on a throne clutching a sword in her left hand and scales are
weighted slightly to the right…
3. Methodological imperatives, at most they are cautionary prescriptions.
Nineteenth-century takes domain here; a conscious eraser that cleans the machine
so the brain becomes a strategic function to disentangle war…
3—Domain
1. men and women must always remain in matrimonial legitimacy and all secrets
must be kept between latent friends
2. A pedagogization of children’s sex—here is a dangerous dividing line—
3. socialization of procreative behavior, ‘in other words, should there not be a
male birth control pill, instead of only a woman’s?”
4. psychiatry
Prevents sexual anomalies, or at least allows them to occur in the presence of
the Grand Narrative—
Foucault (cont)
--This book seems as though James Joyce was writing it while holding his breath
underwater—Matthew Crowe--
1. Immanence is a reset button when dealing with a local center
\control/
2. Variations
‘distributions of power’ and ‘appropriations of knowledge’ should be an equally
sharable venue for |alt|ernavtives
3. Double Conditioning
Hit the metaphysical |delete| button, or, "everybody needs forgiveness for
something” acting effect…to shut down the strategies envelope that projects a
scale of past debts.
4. Polyvalence
Eliminate racial slurs by checking into Bunuel’s LOS OLVIDADS and try this for
practice—demarcate the point of resistance (intersexual relations) and start up
an opposing strategy (magical realism)
XCIX. (99) Eve Kosofsky Sedgwick—
From Epistemology of the Closet
A rehearsal in time and places—
Either category
Queer
Or imperative studies
Tati—Sometimes gay men are good leaders out of childish ways—but only those gay
people willing to splice intersects—as does the Romantic suicidal erotic
meltdown of the Mary Shelley waves of multiple readings—a satanic version takes
credit for a side of the story, but man creating man is kind of a queered up God
creating man—what kind of ‘master-canon’ would not accept Romantic Poetry—set up
a roadblock that is too expensive to pay for, find a way to deliver homophobia
into a different dimension far out of range contact in a left-wing anonymous
rebellion..Focus for a minute on Asian politics do you not think that in a
well-balanced policy would be to allow films like KUNDUN to play in Red China
and films like FAREWELL TO OLD WAYS in Tibet in order to reestablishment a
systemic trusting first world power like Japan (leading in film for RASHOMON
alone)—oh erotic love how you have gone out in crayons and colorful train rides
where nothing happened until you reach a plateau to be watchful over specific
Golden Kingdom. If we could only keep our ZERO FOR CONDUCT list against our
consciousness would then school sin go away—
By Freud’s theory all humans are bisexual at birth and then choose an
orientation. However, these days with rapidly splicing genetics it is known that
certain people are born gay.
Passionate language encourage the
Queer agenda to come out of their shells and stand up for their rights—by
dismissing the know-nothingness of the pseudo urbane’)
‘Euro-American traditionals’ are beginning to accept and adapt to homosexual
males, particularly among a religious group of supporters of different medias
like a teacher, whereas as a human we have no other right but to treat all
people equally.
C. (100) MICHAEL WARNER---a fly by night operation on the quicksand of the
feelings HOMO-NARCISSISM or HETEROSUALITY, and when they should or should not
collies—highly recommendable…
CI. (101)—TEXTUAL STRATEGIES
(sample) Lee Edelman
Homographesis—TO explain the way I feel about cultural differences when I
stashed away memories of a sexual relationship on the brink of doom. At any
rate, too many films at once, including an all Summer Bender spent me several
trips to the hospital.
Can a man with sensitive defense mechanism be sent to a hospital amidst an orgy
of fine looking nymph nurses in the land that is bedlam? The worst crime to deal
within Queer studies is a harsh case, which is rare except in prison. Then
again, if religious oppression coming from a Church seals up your sins, this too
is that in the future there will be a coming out of the closet where all people
will choose the path of there will be a chosen standard or structure of
heterosexuals, homosexuals and/or bisexualists
Impeccable travels horribly, through Christian without nomination, in other
words hospitals hooked me to hard anti-psychotics, which do put me to sleep to
arouse devilish hallucinations, which so far have led to broken bones and other
ethical disasters the visions of a dangerous demon was coming at me only to
return as though upon random command—much as in the way the Johnny Carson show
used to be ran for example—I could always sense the hostility in my heart toward
the queer community which has defiled me from within, let the article now loosen
the shackle—or ex-homophobic confessions.
1. Only a sexual deviant is anti-queer
2. Lusts written on his face
Mean it is okay to straight men to attract queer men their flame, “straight eye
for the queer guy-style”
3. Hospitals typically do not cater to the psychotic imbalanced thought-criminal
that defiles his neighbor through brain insults…
MEAN STREETS (Time Capsule Movie Review Genre: MODERNIST GANGSTER)
In reference of the slight pressure the old friends Cassavetes and Scorsese put
upon each other in a test of independence, Scorsese’s career high point is a
work of poetry (as his long-time collaborators who are not evil people, but have
a delicate touch, as in his producers and writers, as scary as that may seem)
meditations on life in the inner city of New York. Harvey Keitel wants to help
him pay it to the underworld to gangsters the money owed becomes too much of a
burden to bear. In a surprise ending, one of the leads is shot to Death by his
debtors and his director (Scorsese in a Polanski-esque cameo) The film has many
great duration of common lovemaking. The streets of New York spell death for the
reckless and rare spectacle that no one will ever forget. (Also, highlight the
fact that the characters are announced in name in subtitle’s upon each
introduction…)
CII—Textual Strategies
(sample)
Judith Butler—
I-Scorsese and Cassavetes—Life as a House
Oh how I have beguiled the ways of the last schism of the cineastes by accusing
people without empirical datum—therefore this crime must be decompressed into
water under the bridge. No longer condemned…
II-Vanilla Sky—Shrek—I have problems with rigid critics (as I also used to be)
that think there are ‘catachrestic) regulations that cannot be
out—metaphoricalized then manage critical camps to write reviews on chosen gazes
or you will be distracted forever.
III—Cannibal Campout, Beasties and Blair Witch Project—
Lesbians and gay men often feel that there is an avowal of witch-hunts upon
ethical declensions outside gayness to longer be compared to only evil magic—
NANCY MEYERS—
I am sincerely regressed for the character assassinations unless they are public
relation stunts, which may bite back at the box office-styling with many critics
in the industry, will punish you for misunderstanding men—
GODZILLA—
Roland Emmerich, how you hate war, that is why you thwart it in a BRUCKHEIMER
extension, by decolorfulizing bombastic shows by overemphasizing the warzone
within us all.
RETURN OF THE JEDI—
This is the end of innocence for the wave of JEDI REBELLION cultural delusions
that distract through invention, ways in which to slow down culture For Another
Epic Entertainment.
Fahrenheit 9-11
Oh Michael Moore, you have out defiled me on every level—Wish I could have met
you in person—this too must be forgotten to be forgiven…
(AUTHOR’S NOTE: Only a lampooning avid follower of the ways of acid did I get
the urge to get all my Telluride homies in a fun-land of concertos for my saving
grace to the church of cinema, come out of the closet and the King of Kings
(Whoever you dub philosopher king or queen of this realm—do not give up your
crown in times of sorrow--) It’s like Plato’s Academy meets Barbara Stanwyck in
Custer’s final surrender from beyond the grave. What does happen to a community
when people get hurt by everyone around them and why does the gay community that
the heat for sex-crimes when even these bondages come undone—Derive this, why
would the demons of the defiler be unrelinquished the heat of a
culture-of-half-dropouts—represent somehow an over-qualified dropped all these
note-cards ‘straight up the pike’ on preservational complicities alliances—take
for instance people get killed over ‘idols’ in the business wouldn’t you want
your film of the day to be ANDREI RUBLEC, which means cinematic ‘icons’ never
fade—end the sign of homophobic despair for the sake of the greats like “Rock
Hudson,”—or any other Stanislavsky—Boleshavky systemic method of-actors with ‘a
lot on their mind’—question the consolidation of the identity—sign, which are
not to be abused—beware of inner and outer abuse—What would a muse of artistry
do to go out of his way to invite everyone in but in an act of selflessness
signifies haunting realms of oracular lesbians—perhaps is heterosexuals invited
gay men to parties, performances are subjective and exist in the domain of
conscious subject—What is deinstituting a career plan tamer than
expressing—femme fatales may also come in virgin lesbian form even then
switching genres is nearly impossible in a ‘Porky goes to Wackyland, Warner
Brother style’ for the auteur's grid—only the harmless psychoanalytics from
William James through Freud into Carl Jung and into expert mode—which reminds me
to thank my own team of psychoanalysts—which proves that those that are loved
are never lost—except mimesis creates Forbidden territories among a nation of
non-conformists—love to typologize the simplicity of psychic evaluation and
identification—metaphorical sublimination of drag queen culture fits nicely into
a generation-x equation: “Of, Like I give a fuck,”—this too is egotistical. The
problem I have with camps and cults is that there is always some damn
hierarchical democracy and out of respect for old ways maybe there is a reason
to maintain a reserved space for ‘suicide kings’ of professors like certain
leaders who can retrospectively a disruptive promise that post-modernism is a
never-ending critique upon itself for no apparent reason.
POINT FOUR—Sodomy is no longer a sin in an earthly domain.
4. When you try to escape from a hospital once you’ve placed there, they will
find means to strap you into a bed and inject you with a serum—maybe certain
poets have been killed by thought-crimes of their rigid consortium of
gathering—Only the hospital can outrun the inherent Ed Woodian ‘rat race’
against media’s dependency of things cross-genre'd and privately revealed unto
vast isolated sources.
a. Why are gay men always ramshackled with stereotypes of sorcerers and
heretics, werewolves and basilisk’ Why do ‘demonic warfarers’ believe that they
should keep a fight going until the day of the ‘coming out’?
Final essay response:
Neologism—graphesis
Locus of the nexus—“I went on a stealing spree—“
Graphesis—how one crime leads to much deserved punishment, like preferring some
talents over others, until they are all equated to satisfactory powers—
Here’s a tip for street smarts:
Over-masculinity in an isolated shell leads to trouble in the game of
deactivating the mirror of reproduction, which is only obtained by men in a
dragged out situation—which retractions for articles I have printed in vain for
the sake of the masculine side of feminism like the peculiar sequence of
drag-queen humor in GRAND ILLUSION. From tempter, to reviler, to the straights
into the healing of the hearts of delusion.
There’s no better way to out your shattered bones then to exercise a castration
of sorts of yourself among feminist outcasts (of a queer breed)
The Latin vulgate (paraphrased):
Cacaratae Nodulotum—Necronomicae—
This will turn off the ‘cacti’ in the male dimension although why turn into a
eunuch corpse when a family structure breaks down in order to respond to a
community of friends—who all deserve the right to ‘carte-blanche’ in a free/fair
trade market economy. Yet does the anti-gay and pro-gay need to call an all
around cease-fire—some queer burdens are too hard to bear except those who don’t
mind bearing this guilt in critic prison-land. Unburden your guilt upon the
granting spirits of forgiveness for those who cease without praying by praying
without ceasing—
Note to reader—the road to the hospital was always paved by people that could
not but help me through my drug-binging adulterous nature, all in the mix of an
‘insomniac theater’ which lead to my visionary experience. But this too has not
rooted out my displeasing attitude toward haters, yet, hopefully the critical
gauntlets we run will divert into bio-chemistry road block by block—
TIME CAPSULE (movie review)--(style: postmodern)
WINGS OF DESIRE
WIM WENDER’S poetry of images, racks and dances along, following angels in
flight over the city of Berlin. The lead angel DAMIEL decides it is time to
transform from his supernatural state into a human. This way he can know what it
is like to be mortal. His main reason for giving up his flying powers is a woman
he longs to be within the flesh. The movie twists, turns and spine through the
angels’ paths, guiding the viewer through their flight gracefully. Peter Falk
appears as an ex-angel, able to feel the presence of Daniel before his
transformation. Angel vision is shot in black and white, human vision in color.
The film captures Berlin in exacting details revealing its love and loss, tears
and anxieties. The angels can hear thoughts and travel around invisible (though
spotted sometimes by children) laying a hand of care on the suffering human
race. The theme of an angel’s desire to be human and to love is photographed
here for all the dreamers who ever wished to fly above the nonsense.
(TO BE CONTINUED…) (END OF UNIT SIX)
UNIT SEVEN: Truth—equation—formula—
No trespassing
In fact checking land
Without kinging Husserl as a fact checker
CIII-(103)
Nina Baym—
Melodramas of Beset Manhood—In the name of a film project I’ve had in mind
titled ‘King of the Jews’ I will account for my sins of long time loyalties that
will never pass unless they find ways to work independently in the discovery of
Nathaniel Hawthorne to divert the public’s attention through his career, which
ended in 1799, twenty-nine admonishes toward women like Susannah Rowson book and
title (Charlotte Temple) why women authors like to remain invisible, because
certain ways of today’s culture defiles their time and payback are innervated by
a whole new world of classical allusions—I think what leads us into the
‘Harlequin Romances’ is truly ALL THAT HEAVEN ALLOWS (SIRK) or a national
institution of genre studies Thomas Schatz style, which approaches different
genres so that we could learn to transition from a singularly American culture
to globalizing institutions without maintaining anything but democracy. In F.O.
Matthiessen’s American Renaissance aim sense a denominator of democratic
mainstream fiction (add emphasis here)—here is the forbidden fortress of
cinema’s shelter.
BAYM (continues)
Marius Bewley’s Eccentric Design
Social and crude
The traditions
Of realism and naturalism
Enshrine author
1. Hawthorne (bounds of freedom)
2. Whitman (possibilities of democracy)
3. Joe Porte (student of American literature on an equal basis)
4. Savan Berovitch
(Puritan Origins of the American Self)
5. Jay B. Hubbell (reflection of America life)
Trilling influences his text “Love and Death in the American Novel” to explore
“Reality in America” or the newer slogan of many campaign trails, “Only In
America…” like the Medea’s last thoughts, Oh how I do sacrifice my children upon
altars of fire to leave behind the wars of lustful and vengeance-ful Jason and
the Argonauts without any reason except to tame the winds, recenter the Earth,
calm the waters and peaceful oblivion unto my own Demeter-ian self-serving
heresy.
MAGI LESSON—
Balthazar—A Speaking Animal (as in codified Bressonian linguistics…) GOLD
Ahab—The Sheik of Arabs FRANKINSCENSE
‘Rudolf Valentino’ MYRRH
Texas—Lone-Star
‘Matthew McCounaghey (sic)’
For the shepherd
of Lynch mob’s
ilk
will outlast the shit-storm
of
confusing beguilers
in the name of the corruptor
Now you see him “or” now you don’t…CHOOSE OR
Edith Warton (sic)—congenial, incomprehensible, schematics of self-preservation
For Whom the Bell Tolls
Directed by Sam Wood
A Hemingway experience
F. Scott Fitzgerald’s
‘The Beautiful and the Damned’
Vincente Minneola’s
Bad and the Beautiful
For the block
‘sentiment protests early confessions’
Hawthorne’s Scarlet Letter—
Where an adulterous woman is treated with corruption, shame and insensibility
(alluding to the essence of culture)
Compliant and supportive
Are the virginal brides
And non-threatening mother
Question Answer
Freud arguments
In the occultic
psychology
For nature of
Psychoanayltics
Psychotherapy
(Like watching Hitchcock and Selznick collide in SPELLBOUND, in which Cary
Grants’ final defense mechanism was diffusal…
TIME CAPSULE REVIEW (ALUCARDA)—horror film
Among the finest of vampire flicks, this movie is an art film in the guise of
action-horror. Alucarda is the legend of two girls that try to serve God and end
up fornicating with the devil. The lead Alucarda wraps her friend into the world
of evil. Iconographical enough, one of the girls stands up naked in a bathtub
full of blood. Alucarda is this reviewer's pick for films about the occult and
supernatural horror. The girls have a sexual passion toward each other that
brings them to devotion even in evil acts. When the vampire killers hunt down
Alucarda the battle is an all out bloody ballet.
The allegory of female’s growing older and passing into maturation us at hand in
Alucarda. She would do anything to keep her status as the grand vampire. The
film utilizes color as a formal element to reveal his passionate nature of the
characters without the fail of the tension of emotions that is played out in
lavishment. Following the romance of two iconographer iconoclastic females as
they terrorize the religious nuts in their path is never too much fun, which is
expediates the picture. Whether it is a blood filled bath or an orgy in the
graveyard, Alucarda delivers the vampire genre a new entry to the myth,
deserving of observation as any cult film.
TEXTUAL STRATEGIES (continued)
The Great Gatsby
By George Bernard Shaw
Metaphoric burdens of unusual surrogates implicit of Adamic heroes that enshrine
ladies in roles of key interpretive open-ended allotments that never end.
I suppose the biggest problem with the weakest link of canon is that from
bad-words to pure words to over impositional facts—Intercepted by mind-numbing
waves of ex dues machine or a ‘flawless’ apparatus with a meter of human decency
to accept only the lineage of video game history as such (in the history that I
have alternatingly perused:
JOHNNY GUITAR (TIME CAPSULE FILM REVIEW genre: Post-classic Western)
Sterling Hayden stars in this knock-down drag-out no holds barred, blistering
tale of passion, guitars, gunfights and romance. Nicholas Ray masterfully guides
the film through a Rio Bravo-esque restaurant and the female protagonist, Joan
Crawford, refuses to give up her place no matter how corrupt the local genteels
accuse her of being. One man points out sarcastic to honor the new romance
between Hayden and Crawford, saying, “all a man needs is coffee and cigarettes.’
That is until a lynch mob comes after your lover, guilty by association. The
final gunfight is between women. Colorful in its vivid hues and saturated
tonality of flesh and blood characters set apart by the false schisms imposed
through convention of the Western frontier vs. civilization. The graphic design
of the ladies is beyond hot. Hayden is an archetypal hero to his damsel in
distress playing a rare tune to an old friend.
Sparks fly in the explicit romance onscreen heating up under conflict. A gang
that robs a bank brings Johnny’s female companion into their ensnaring outlaw
ways. The film is a precise dictate of the western outlaw typography. Ready to
abandon everything dear to them at the drop of hat; Like all bolstering
gunslingers the best shooter takes all in a gunfight, hands down.
CIV. Textual Strategies
(sample)
Berrnard Herrnstein Smith
1. The Exile of Evaluation—Try this on for a Laodicean epic poem—why hath the
rulers neglected significant
Interpretation of extraordinary
Prolific hermeneutics
In France along the Seine on the Right Bank there was a hard-back volume of
information about the beauty of Sodom and Gomorrah—whence I saw that evil could
be used for good in rigorous articles of sociology in the land of Tyre and Sidon
I too find honor, cultural values and discipline—scholarship and criticism,
approved by axiological skepticism—
Canaanites have sentience, as does Hebraic Tribal scholarship (For a relief in
measured aggression at this phase, pop in a copy of the VHS bootleg, TV version
of ‘Tape Heads’) to neutralize the Romans from killing Christ deception will no
longer thrive, even before Judas can replete and diminish this angering fire
without neural impulses of a sonnet…
From Keats—efficient
Wilcox—valuable
In a Thomas Hobbes, John Locke double-kingdom, as a divisor for
philosopher—kingdom one is fair to all—the other is a man among men
TIME CAPSULE REVIEW (Style: French New Wave)
Celine and Julie Go Boating
An abstract French New Wave epic testifies on the limitlessness of the filmed
art form. Celine and Julie of the title find themselves in a predestined life
objectified by all others. After chasing each other around through the city and
ditching their normal lifestyles, they channel a film within the film with
witchcraft. To make matters more complex, the women discover a little girl in
their cinematic hallucination that deserves to be set free from impending death.
Celine and Julie float silently on a boat after rescuing the child, which they
accomplish in over three hours of New Wave magic. Jacques Rivette, the director,
is an alchemist with images, as his characters are alchemists within the film.
Challenging and aesthetically flawless the film ranks among the top of the New
Wave.
Rivette’s enormous undertaking reinvents the language of cinema, with a feminist
perspective, no less. Whether or not Celine and Julie are lovers remains
unanswerable, however, they share a love for each other that breaks through
boundaries of tradition. They reveal reciprocity of improvised playfulness
toward each other that could condition a romance. The dichotomy between the
vision of the youthful innocent of classical convention and the modernist
open-endedness of the rest of the film appeals to the New Wave instinct by
deconstructing the Tradition of Quality, rescuing its usable elements from the
shambles of over used film convention. Celine and Julie meet each other in
flirtation. When they begin to trip out on magic candy, they watch like
self-reflexive film spectators the unraveling events of the repetitious house
where the child is in danger. After stealing a load of magic books (in Irma Vep
attire) they are finally accessing the film within the film on an interactive
level. They comically solve the murder and go on the boat trip of the title only
to pass by the characters from the other storyline. It is by connecting two
opposing styles and stories that the film outperforms expectations, demanding
repeated viewings. The style of Celine and Julie coming together is painstaking
in its rendering, leaving questions of mutual erotic love without answer. The
feminist touch is seen particularly when the two homo-social adult females put
an end to each other’s heterosexual partner. The improvised nuance of an Eros
for cinema’s gaze is a fantasy film of creative and complex elements and without
question a masterpiece of movie screen wizardry.
Chit-chat—as though rabble and other agendas don’t haunt a generation in 1968
E.D. Hirsch Jr. revitalized sexual evaluation formulated magisterial, analytics,
sign-dialectics, positivist/humanist and only the historian critics like Mikhail
Bakthian for reception aesthetics watching out for deceptors Foucault style and
Derrida (a risk willing to take) invisibly warps away established evaluation for
exhibition—masterpieces of philo-literature with ‘direct value-judgment of
informed good taste’ Hollywood history guided by the fates of the silent-era for
rewarding whispering community
The establishment of United Artists (between)
Mary Pickford—Queen of the 20’s
Douglas Fairbanks – Legend of Acting and Stuntwork
Chaplin—Actor, Writer, and, to say the least director
D.W. Griffith—The anti-deceptive
Producer, Director and Writer
See also ‘Sparrows’ for Pickford’s delicate balance…
See also ‘Thief of Baghdad’ for Fairbanks ‘stunt trials’
See also ‘The Kid’ for Chaplin’s shortest anti-flawed cinematographic effort
See also ‘The Birth of a Nation’ for the rowdiest film of all time
Athena—
Product of evolutionary mechanisms
Hera
‘reward-zone’
This too remains problematic
(St. Bartolomeo’s)
Endurance of certain classic canonical works divergence of errors (all streams
reach the ‘eternal life’ of the sea at last/life eternal)
Axiology
Human-variables and divergent errors—
Hume’s essay
Standard of Taste ‘imposed’
‘nature’s relational attendance to caprice imperfection in organic volumes
unless influenced by General principles.’
NOW DOTH THE PRAGUE AFRICAN MILLIPEDE SPIRAL UPWARDS FOR A POSE—Enter me for
comfort—
Simple icons help to pass into the realm of simple materials
1. Clock
2. Dictionary
3. A door stop
4. ‘a curio’ an objective—subject) although even ‘curio’ is bric-a-brac in
survival creatures realizes and appreciates to misuse generic classifications.
But what is the effective function
Ornamental names
Take this name for example
Apollonia
A pure, non utilization, interest-free
Aphrodite
Gratuitous activities
Function the experience
Marketplaces recognize the
Value of ‘free-entity’ analogous to ‘interactivity’
Analogous to ‘interactivity’
For fixed attributes
It’s like the Cinema of Ozu versus deception
From Tokyo Chorus to Tokyo Story to the ‘Equinox’ through ‘Floating Weeds and ‘I
was born but…’ for the block—these films are
1. objective
2. absolute
3. Universal
4. Transcendent
5. The films have aesthetic axiology.
6. ‘belongs to ‘features’ that are both ‘qualities’ and properties of the
Japanese Film Tradition—setting a course for
1. Female needs
2. Cultural interests
3. Divine purposes
4. Ultimate self-interest
Between ‘yugen’ and ‘mono-no-aware’ the must be ‘mappo’
In other words an indefinable moment—meets awareness of loss and nature takes
its course to wrap up the time to weep and laugh into one ideology. All
Ozu-cinema is an ‘overall work of art’ and ‘literature’ and ‘interest’ in a
world of technophilia and ancient Buddhist practice…
A face of fear among idols
In a briefcase of icons
A history without facts
Even in a humanist fantasy interpose
Only the eyes of the digital in the sacks
Extension and refinement arose
From a sphere of Micah and likens
Let us not talk about it and say we didn’t
TIME CAPSULE REVIEW (style/genre: neo-classic/comedy)
CITY LIGHTS
Chaplin is the master of shifting between hilarious laughter and bittersweet
sentiment. In City Lights he magnifies the comedy in different episodes of
misadventures. Most memorable is the wacky boxing match he gets involved in
hiding behind the referee. He takes on many jobs otherwise he’ll remain a
penniless tramp, sleeping on a town square statue. Always representing the
underprivileged the Tramp is contrasted with the rich man that Chaplin saves
from suicide. Chaplin’s tramp finds himself in love with a blind girl and she
reciprocates though not without hardships do they get together. This film is
among the best of all comedies blending slapstick with satire, greeting moments
of laughter and bliss as a contrast to Chaplin’s dark side of the city;
loneliness, sadness and death. Yet the darkness is played up for the light. In a
hilarious moment the tramps rich friend drives drunk through the city nearly
crashing at every turn. Something is to be said of Chaplin’s satirical edge
capturing the topsy-turvy quality of the city without flinching he sends up even
suicide for a joke. Masterful direction, delicate compositions ethical object
lessons nothing beats the tramp for timing at pantomime and ultimately his CITY
LIGHTS is a laugh riot out of nowhere.
TEXTUAL STRATEGIES (Extra Credit)
Imagine specific value
Functions of conceptual
Perusal with project recognition
Inquiry
2. Economics of Literature and Aesthetic
Dynamic of an economic system,
Involving commodities as Gold, bread and other ‘use-value,’ like a ‘paperback’
of MOBY DICK
TIME CAPSULE REVIEW (style: modernist)
PAGE OF MADNESS--1927
Kinugasa’s much sought after silent landmark is among the first to use
flashbacks, flashforwards and an out of sequence narrative order. After a woman
drowns her child she is sent to the psyche ward where all of her delusions are
acted out despite her father’s interference. Of the avant-garde works, this film
approaches the apex of the Zen plateau.
The lighting, framing, montage and cinematography create a pattern of light and
shadow that mesmerizes the viewer. NOH masks are worn to reveal increasing
madness. The whole work reveals the subjective state of psychosis in its most
intense form. Even Shock Corridor does not rival the spectacle of PAGE OF
MADNESS. The sheer episodic spasm unveils a pattern within the chaos of the
random shots. The woman is always is a state of insanity, increasing from within
her and externally, as well. The people in the hospital appear mad and the
father tries to awaken his daughter before she loses her senses entirely. She
does not respond to him and ultimately falls into a catatonic stupor. This film,
deserves a place in the silent film masterpiece historical canon. RASHOMON is
only one example of a film that borrowed from the pages of MADNESS.
TEXTUAL STRATEGIES (Make-up Homework)
Milton explained through Blackmore through the epic poem of Creation
Disvalued to bring about value ‘evading’ Eliot’s
Zone for diversity and conflict
With judgment of exotic
Audiences and a healthy dose
Of deception—on the outskirts—even this evasion is dramatized by
Conflicting judgments
SONNET #4
Prufrock Hughes consistent in mode
Socio-time in ghetto dialect
Painful, irrelevant comparisons abode
Dismal times have been re-erect
Counterpart to tastes and preferences the illusion if consensus is all around—or
standard—discount products are all maintainable functions or impoverishment of
background and education to become outlandish, irregular for material
specifications of an ‘ideal reader’ to be underspecified by deception to
reiterate psychic health—for contingent selections—or as in the traditional view
of ‘HUME’ is
‘objective intuition
Value judgments’
‘cluster of behavior compulsions’
A standard bank account
Is ‘empiricist’ and idealist’
Through this logic
We come to
‘standards and deviations’
Similar pathologies
Divergent
a) wide spectrum
b) intractable through cultural challenging
c) responsive to circumstantial context—
CV. (105)
HENRY LOUIS GATES JR.
(textual strategies)
Writing ‘Race’ and the Difference
It Makes
The truth is Renaissance fades
to make us at one with the shades
‘leaders of profession’ there is no trickster to
Trivialize alongside the wickster
---thresholds are dangerous—
1. Changing emergent
No longer desires infusion
2. Archaeology
Bound by time and money constraints
Changing conditions to secure from
Risk in the underground
3. Embody the likeness of like
HANS-GEORG GADAMER
‘unlimited’
Philo-king Kant for
The limitation
‘test of time’ designed to ‘fit’ ‘question’ your social
Position for a radical iconoclasm—even a friend among word-thieves
Can pass without hate or deception.
MOVIE OF THE DAY; WOODY ALLEN’S BANANAS—Sept 1. 2009
If only St. Augustine and St. Aquinas believed in the core values of rigidly
defined
Cultivating of their interests
Development of taste
Abandonment of deception
Words, time and energy
To justify the work of female author of prefigured—presumptive audiences
fittingness of transitory of allures—marked figures without rank-ordering and
evaluations among common
Reader, small-town librarian, or simple long talks about meaningless-nothing—
(taciturn)
Words of the wise
SCATALOGICAL IMPRACTICUM
The less people – the higher the value
Die
Manifest destiny - without articulation
Conditions that absolute
Hate with
Deception
--are translates, imitated, cite
For commentary—
Shadows—swodahs---
==disappearing at==sworders
Unlife-life
-physical relic—
Archaeology to anthropology
--skull cracker—
In other words, food for sheep—
I have a great idea as to how you could splice together recorded or preferably
photographed and uploaded to computer format (like .jpg for
example)...Anyway...take pictures of notecards that have the dialogue and a
slight touch of other marginal information--like a brief setting establishment
TITLE CARD (examples)
#1 (At the outdoor round table)
That morning when the detective came to visit...
#2 "I have not read it, but I know what it is about..."
--MICHAEL (j.p.)
At any rate, after photographing, splice the footage into setting changes and in
between talking phrases that cannot be heard...just drown the whole thing out in
rock-and-roll
For Clay M.
(TEXTUAL STRATEGIES—Unit 7)
(sample)
Strings attached , no money
and all freedom, coin is
Tempting in this realm, but
The more demons you destroy
The presupposition of enlightenment
Discovers movie attendance
--—
Here is the clerical responses (to choosing classes for FRESHMEN entering with
an art path in mind, at a top-notch University)
Of St. Luke and St. Bartolomeo
‘cineaste’ for elective
‘Kant’ for major ‘take-over’
Of the dignity of new criticism—elective of choice
And in honor of ‘communications’ open up a book titled ‘practices of looking’
Theoretical Rhetoric: Do you believe in the power of ‘statues’?
Red Mage guide
To anti-oppression
(style—Final Fantasy—Video Game)
Greek and Latin gods burn’d
For our poetica practicum
Send in the electronic bard
To Publick elementals, Numbers
Are becoming less oppressive, to
Simulate an issue of species or
Rank—Red species of mage rank—Cover your eyes before
You get swoon or –HEAL-
Free your enslaved mind from
A ‘non-relationship,’ which
Freely distributes info with no ‘strings attached’ (see above)
Time Capsule (Film Commentary…Genre: Neo-classical horror)
Haxan: Witchcraft Through the Ages
The haunting silent masterpiece Haxan is unchallenged for spectacle of the
macabre. Coming out in 1922 with director/writer Benjamin Christensen starring
as the devil, he delivers a performance as disturbing as the satanic mass
presented throughout. Supernatural images of witchcraft fantasy are juxtaposed
by psychiatric patients under the modern day spell of hysteria. Christensen is
ambiguous by creating a dichotomy between real witches and those in the Middle
Ages that were tortured to the point of lying about being a witch. Notice how
there is a tongue in cheek attitude toward the possibility of a real witch,
engaged in her magic, kissing Satan’s ass (literally), and burning babies to eat
at black mass. Yet, the true horror of the witch trials are equally scary, still
comical in a way and lend credence to the pseudo-documentary’s multiple points
of view. The opening chapter of ancient paintings of witchery sets the stage for
the images to come.
Disturbing often to the level of the grotesque, the witchery practiced is dark
in its origin. The witches learn to take flight on their brooms, fluttering
through the air due to magical ointment. Early witchcraft delves into the
satanic, and the personified entity of evil seduces his gathering with sexual
advances in the night. In a skewed viewpoint of an out of body experience, a
dirty witch is tantalized by visions of desirous wealth, robbed by Satan and his
demonic minions. Without hesitation, Christensen blurs the line between fantasy
and reality often confusing the two modes of representation through a deep
presence of dangerous evil known by the church as well as the witches. Never
once is the force of evil quieted by a good magic, instead at the base of all
witchery is a demonic evil so powerful that it takes over the hearts and minds
of all involved. Thus, the comparison of witchcraft to modern hysteria is
another attribute of ambiguous storytelling that fails to delineate whether
actual witches exist or if it is all to be taken as insanity. However, the dark
images of the satanic mass resonate deeply in the mind as a confession of the
darkest side of demonic impetus. This revelation of evil is played out in a
dramatic arena for provocation of fear of the supernatural otherness of demonic
witches. The film creates a metaphysical picture of a totality of witchcraft
practices, never certain if the revelations within depict the real or unreal.
The catharsis comes from a double reading of witches as psychotics versus
witches as profound influencers over the spiritual realms. Demon possessed nuns,
out of body experiences and an excessive degree of demonic special effects make
for a film that has no choice but to put the audience under its spell.
(STYLE: EXPERIMENTAL)
Dog Star Man
Auteur Stan Brakhage unleashed the most potent experimental film with frame by
frame cell painting mixed with varied live action pioneering the art form along
with Andy Warhol. Though Salvador Dali and Dziga Vertov contained experiments,
as well as the French Impressionist school, the movement disappeared until
Brakhage reawakened the intelligent hybrid of form and content as an abstract
ideal. His pure cinema is silent, leaving it to the images to coalesce to a
grand explosion of sights that rattle the senses. The film consists of five
parts of rapid cutting including the prelude, which is practically the length of
the rest of the films put together. Brakhage’s montages are revealed in his body
of work of which he has 400+ films under his belt. Incidentally, Dog Star Man is
an encounter with form at its finest, displaying a phantasmagoria of color
cascading freely in space. Light and shadow imageries dance in an infinite
vortex of Brakhage’s masterpiece composition.
The naturalist aesthetic presents a cosmic flood of flickering images that
collide to the rhythm of Brakhage’s expertise. Utilizing every trick film
technique, his formal style pushes the boundaries of experimental filmmaking. As
the film portrays his wife giving birth, superimpositions of flaring color flash
by to heighten the dramatic intensity of the visuals. Brakhage disposes of
narrative film characteristics such as story and representational images. Thus,
he leads the pack of the “New American Cinema” independent directors. Mixing
blood, the moon, snow, flesh, microorganisms and mountains, the senses are
hypnotized by the active experience. In between the frames, Brakhage plays a
role in the film as a woodsman fighting with his dog on a mountain, further
interjecting his personality into the pictures that are all under his authorship
and control. The film is a depiction of a dream cycle that captures all four
seasons of nature. The excitement generated by Brakhage’s meticulous
construction produces kinetic energy rushing through the viewer. The scope of
the work landed the film worthily in the National Registry. No other experiment
has outdone Dog Star Man’s essence of humanity in a dream-life of seasonal
transitions. At a first glance what appears chaotic later turns to an exacting
musical of perfected order, which returns to chaos. The cyclical breakthrough of
the mind’s perception becomes a playground of style, nothing short of intricate
purity. Once the abstract experimental animation of Dog Star Man works its
magical alchemy on the spectator, there’s no going back and life will never be
the same Henry Louis Gates Jr.
(textual strategies)
Writing ‘Race’ and the Difference
It Makes
The truth is that Renaissance fades
To make us at one with the shades
‘leaders of profession’ there is no trickster
Trivialize along-side the wickster
Semantic words are expressive
Deconceive notions of hate
Preconceive notion to rate
In reality we all need deception
To become meaningless—
Next threshold
-Oppressor-
TIME CAPSULE REVIEW (AUTEUR: HITCHCOCK and GENRE: SUPSENSE THRILLER)
NORTH BY NORTHWEST
Cary Grant plays Roger Thornhill mistaken by cold war spies as an FBI agent that
doesn’t exist engineered as a decoy and do not intervene in Thornhill’s plight,
as he is swept into an extraordinary world of suspense and espionage. Hitchcock
uses thematic metaphors of travelling throughout the episodic structure as a
connection to a ‘Picarol’ style—that is a rites of passage road film. Thornhill
fall for Eva Marie Saint’s character and he cooperates with the FBI to help her
out. He proves by the end of the film to be more than just a businessman. The
scene with the crop-duster attacking Grant in the cornfield is legendary. It
subverts the persona of Grant (as does SUSCPICION) showing a man that loves
control, while having no control whatsoever. The final climax between Thornhill
and his opponents (James Mason and Martin Landau, in key villain roles) is on
Mount Rushmore symbolizing chaos on what brought order to America. The film
ranks among Hitchcock’s top FIVE and came out right before PSYCHO, a
significantly lower budget movie. The colors, the sound and the ingenuity
coalesce to form a vibrant sensibility of movie magic that defies the norm of
art and entertainment.
A MAN ESCAPED (Time Capsule: Style: Neo-noir Genre: Suspense-Thriller)
Bresson is at it again, using stark, austere and ascetic pictures of a man in prison
destined in the duration to break free, as the title suggests. Bresson films
impressions of the scene using offscreen sound as never before. The sound denoted the coming of the guard that rattles his key on the stairs.
Non-professional actors send-over to Hitchcock watching to see how the man
will ultimately, break out of prison. The film
is succinct, lucid, clearly detailed and familiar in Bresson's auteur style of realistic melodrama (see also Paul Schrader's Transcendent Style of Film to pass...)
The prison guard is killed by the protagonist and the man who escapes is existential knowing that
it was the guards' life that had to be taken to break free. Of all the prison escape
film's this is the most clean and meticulous, calculated every step of the plot.
The second half of the film is practically real time. IT is a thrill of a film remaining in the Bresson TOP FIVE. Bresson always creates an isolationist reality
of transcendent nature. That death is the only reality of most of his films, it is nice that in this film, a man escapes.
(Style: conformist---Genre: Suspense Thriller: Supportive)
The Cabinet of Dr. Caligari (reviewed)
A somnambulist is a hypnosis controlled 'sleep-walker', which is exactly what Dr. Caligari has on hand to commit murder for him.
The German Expressionist landmark utilizes the landscapes in thus world--
everything is 'topsy-turvy,' carousels balance on their sides and jagged edges in the chiaroscuro create magnificent tableau.
The somnambulist creeps along walls waiting to prey on the victim picked by his master.
Robert Wiene's construct of expressionist mastery is among the finest of the silent
eras. Siegfried Kracauer comments that the film is off kilter, that it promotes insanity. The film may not promote
insanity but it certainly represents insanity-- its most chaotic form. The low key lighting emphasizes
the darkness of the jagged sets creating mise-en-scene that reconstructs reality.
This film is key in the entire expressionist movement. Caligari's puppet Cesar entertains at a carnival,
only to stalk the town at night. What CALIGARI reveals as a film is not that art
reproduces violence to encourage it, but rather that art is art no matter the subject.
Wiene paints his landscapes with edgy material.
Like the GOLEM, a master controls his monster. It lands him in the asylum, and the story within the story plays out
in the realms of the shadows...
What cinema is: Intellectual and Intelligent, Challenging and Creative, Style, Form, and Content...
