Our taverns and our metropolitan streets, our offices and furnished rooms, our...– Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” More of this, please!
Since film permits of no psychological explanations, the possibility of a change...– Béla Balázs, Visible Man or the Culture of Film
The real interface in the auditorium, the material border between spectator and...– Thomas Elsaesser and Malte Hagener, Film Theory: An introduction through the senses
It would have been unnecessary to survey departing audience members to gauge...– Andrew Grossman, “Twelve-Tone Cinema: A Scattershot Notebook on Sexual Atonality” Bright Lights Film Journal Issue 43 (February 2004) Grossman’s describing a screening in 1999 at the Chinatown Music Palace (located in New York City) of the film Hero Dream, “a low budget,...
Masochism, Sadism, and the "Perverse Pleasure of...
In watching Nicolas Winding Refn’s Drive, I found it helpful to consider the ideas advanced in Gilles Deleuze’s book Masochism: An Intepretation of Coldness and Cruelty and especially Gaylyn Studlar’s pioneering essay “Masochism and the Perverse Pleasures of the Cinema.” The latter essay notably advances the study of film beyond the orthodox understanding of the...
If feminist theory has reason to lament that system of representation [of women...– Kaja Silverman, “Fassbinder and Lacan: A Reconsideration of Gaze, Look, and Image,” Male Subjectivity at the Margins.
Kant said that as long as the numerical unit of measurement is homogeneous, one...– Gilles Deleuze, Cinema 1: The Movement Image
Now the French turned away from organic composition, and similarly avoided a...– Gilles Deleuze, Cinema 1: The Movement Image The farandole in Jean Grémillon’s Maldone (1928):