By R. Bruce Elder
Elder examines how artists comparable to Brakhage, Artaud, Schneemann, Cohen and others have attempted to acknowledge and to express primordial types of studies. He argues that the try and show those primordial modes of understanding calls for a unique belief of creative which means from any of these that at present dominate modern severe dialogue. through transforming theories and speech in hugely unique methods, Elder formulates this new perception. His feedback at the gaps in modern serious practices will most probably develop into the point of interest of a lot debate.
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Additional info for A Body of Vision: Representations of the Body in Recent Film and Poetry
But George Barker possessed a wide range of knowledge; legend has it that when he worked for a major news magazine the journalists would use him as a walking encyclopedia and come to him when, facing a strict deadline, they needed historical, geographical, or literary information and did not have time to look it up. Not every viewer would make all the associations I have teased out of the film. What I have strived to do is to identify the range of associations that the allusion might mobilize (and it is almost certain that there are others that I have missed).
Creating images of the body is a way to think about the self. In our culture the self is under duress, however. Ever since the Christian view of nature lost its dominance, we have had few absolutes to which to moor ourselves. We have assigned the self the role of creating the values by which we live, and this task has proved too onerous a burden. For, as Becker points out, when we come to think of ourselves, we seem inevitably to experience massive ambivalence. Similar ambivalence characterizes our thoughts about our bodies.
This usually involves considerations regarding allotting each shot sufficient time to allow the internal development of the represented action without overextending the shot so that its length slackens the rhythm imposed by the successive exchange of one shot for another. Cosmic Ray is unusual for constructing a composite rhythm in which beats of the second sort dominate utterly beats of the first sort. Only rarely does the internal rhythm of a shot assert itself: The most obvious case appears just after the middle of the film—an image of the woman, prone, slowly pulling off her underpants so that she is completely naked.