By R. Bruce Elder
Elder examines how artists reminiscent of Brakhage, Artaud, Schneemann, Cohen and others have attempted to acknowledge and to show primordial varieties of reports. He argues that the try and show those primordial modes of information calls for a unique notion of inventive which means from any of these that at present dominate modern serious dialogue. by means of remodeling theories and speech in hugely unique methods, Elder formulates this new perception. His feedback at the gaps in modern severe practices will most probably develop into the focal point of a lot debate.
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Additional info for A Body of Vision: Representations of the Body in Recent Film and Poetry
34 A Body of Vision Sitney does point out that the centre of the film is a collage that represents an orgasmic climax, and that this climax reveals that the structure of the entire film is patterned on a sexual encounter. By patterning the film's rhythms on the rhythms of the sexual act, Conner introduces another layer of meaning into the work. Its role and structure can be made clear by commenting on the same section of film as above—the section including the image of Mickey Mouse. ) On first viewing, the film seems a peculiar, rhythmically intense, semi-pornographic dance film.
The film is built on the use of synecdoche; it offers us various parts of the body isolated from the whole but representative of the mystery of the whole. Just as we assemble the parts of the artwork (the film) into a whole so, in fantasy, we assemble the various body parts the film offers into a whole. This act of integration is, as Barker suggests, an erotic act—as indeed all genuine aesthetic response is, for such a response depends upon discerning the pattern that connects the parts of the work of art and makes it a whole, and, as Freud remarked, Eros nowhere makes his intention more clear than in the desire to make two things one.
Its role and structure can be made clear by commenting on the same section of film as above—the section including the image of Mickey Mouse. ) On first viewing, the film seems a peculiar, rhythmically intense, semi-pornographic dance film. The whirling lights and surface textures superimposed over the dancer seem to serve strictly formal ends. When shots of parades, bombs, and rockets begin to appear and become more frequent, we are forced to revise our interpretation. Then, a shot of Mickey Mouse appears.