Showing posts with label film. Show all posts
Showing posts with label film. Show all posts

Saturday, February 7, 2009

Experiments






text: Jean--the medical student from France and Sebastian's last love.

He was already very sick.
It made me angry that I couldn't do anything for him.
What did it matter that I was almost a doctor?
I told Batilde, I was going back to France.
She called me a coward. I took the bus to Bamako.
I missed the first plane. The next was fully booked, so I spent the day
looking for souvenirs in the marketplace.
When I got back, Sebastian had become an old man. He couldn't even stand up.
The suit was dry like parchment, yellowed and stained.
He asked me not to leave again.
I promised. It was unbearable at the end.
But, there was nothing else to do. I had given my word. I had to see it out.


Voice-over narration: Sebastian

Jean at my bedside. Big Head. Skin shiny as navy silk. Lips pink and round as moons. His eyes were red. He had been crying. I always forget how young he is. He could have gone either path—to jail or to this--his private glory that manifests not as a golden laurel or halo, but as a quiet and steadfast confidence. J. is waiting for me to speak. And I do. I tell him that I would like to learn how to tango before I die. And he looks at me as though I were mad, and laughs raucously and shakes his head. A big laugh from his belly as if from a bass violin. Two days later, he made the trip to Bamako and in the bazaar there by the Great Mosque of Djenne, found a seller of old toys, dolls with real nylons, and waxy tubes of orange lipstick, he found a water-stained cardboard box containing numbered plastic feet decals and an inscrutable set of instructions, I believe, in Portuguese. In addition, he bought an old, yellowed suit of white duck and white tasseled white nubuck loafers, slightly cracked and flattened.
He wanted to dress me, but I was, too weak so he dressed himself and danced round the room using a shepherd’s stick for a cane. I love him. And, now that I am dying, I have no fear. I would proclaim it from the rooftop.



Carlos: the prosecuting attorney
He sent me a letter from Africa on hotel stationary—the Intercontinental. Old fashioned letter head, cheap paper that soaked up the ink. It must have gotten wet. I couldn’t read half of it. He asked if I would forgive him. He’d asked me that before at the trial. At the time, I thought it was some kind of stunt. I didn’t know he was sick. But, the letter seemed like he was saying goodbye. I remember thinking that I wouldn’t have been surprised if I heard that he’d jumped off the balcony. He told me he’d been mugged his first week there. It must have brought it all back for him, Even though Suzanne did not think he had post-traumatic stress disorder, I still think that something like that kind of violence affects you. It has to. I called his boyfriend, Alex after I got the letter. I thought he might know something. He never called me back. I thought about telling the police—they knew that Hector was lying about Sebastian, still they were not happy about him leaving the country. Legally, yes, it was the correct thing to do. But, then I thought, what good will that do? So, I just ran the letter under the faucet, let all the evidence run off like invisible ink.


Sebastian narrating:
It was like they say in the movies: my life passed before my eyes. And, suddenly it all seemed so absurd. I felt like I was on top of a mountain range looking at my life. The mountains were massive, immoveable and as I stood looking left and right, I saw how it all continued on and on.
I wrote letters to everyone. I cried doing it. I wasn’t sad. I was grateful. The tears drip-dropped onto the paper. I sent them anyway, I knew I wouldn’t write again. I didn’t want them to try to find me. I could picture my life, returning home sick—hope forced down my throat like some awful treacle. But, I did want to communicate some things before it was too late. I had to tell Alex, first off, so that he could get tested. I wanted to tell Carlos that I was sorry for running away. I wanted him to know that I was happy, not that that would make a difference. But, he was a kind man. He actually did care. I wrote my mother, too. I hadn’t talked to her in years. She came to the hospital, stayed for three days while I was still sedated. Alex told me later. I could only assume that she’d defied my father in coming. I wanted to thank her for it. For a long time, I had wished she would leave him, find a life somewhere, but I understand now, that I was wanting that for myself.

Thursday, September 18, 2008

Occasional notes on Cinema--Cinema and Cliché

"A cliché is a sensory-motor image of the thing. As Bergson says, we do not perceive the thing or the image in its entirety, we always perceive less of it, only what we are interested in perceiving, or rather what is in our interest to perceive, by virtue of economic interests, ideological interests and psychological demands (I'd add physical, too.) We therefore normally perceive only clichés. But, if our sensory-motor schemata jam or break then a different type of image can appear: a pure optical-sound image, the whole image without metaphor, brings out the thing in itself, literally, in its excess of horror or beauty, in its radical or unjustifiable character, because it no longer has to be justified..." Deleuze, The Time-Image

some thoughts on this: if our consciousness according to Bergson and Deleuze is by its nature, impoverished relative to the entirety of the image because of its subtraction by the body, then perhaps desire is an irreducible component of consciousness, in so far as memory (of other possible images) is operative. Now, consider the future with barrage of images and mechanical memories allowing archival retrieval on a scale that is not possible with the human brain. The situation of information overload can lead to a desire for stasis, a desire for culling and comfort provided by kitsch. At the same time, kitsch is like drinking salt water. It can alleviate immediate thirst, but in the end leads to further dehydration and a violent desire for fresh water. Unfortunately, kitsch also reinforces just those sensory-motor schemata which make us see only kitsch. A rather desperate situation which, perhaps, requiring a trauma, a cut, a break of some sort to reset it. Now, where does this leave language, which also has its clichés and its poetry? Again, I reiterate the importance of language, despite its tendency toward metaphor. (Unlike Deleuze, I believe in the destabilizing potential of metaphor.)


“There is no longer any metaphor, rather metamorphosis. Metamorphosis abolishes metaphor, which is the mode of language, the possibility of communicating meaning. Metamorphosis is at the radical point of the system, the point where there is no longer any law or symbolic order.” Baudrillard, Forget Foucault.


WE HERE AT RNDT MAINTAIN THAT REALITY REMAINS A BULLET IN THE HEAD.




To fool ourselves into thinking that in a cybernetic universe, our brains are not hardwired for wanting fixed points of meaning is thinking we can google our way to enlightenment. Bullshit. Thus, was Revolution Nostalgia Disco Theater born. For the full manifesto go to http://www.reconstructingmayakovsky.com and click on "Manifesto."