Wilder, 1950), and Ingmar Bergman’s Persona (1966). (2001), and Inland Empire (2006)-as well as antecedents such as Lost Highway (1997), Maya Deren’s Meshes of the Afternoon (1943), Sunset Boulevard (Dir. ![]() ![]() In this way my experimental and “metacritical” mode of inquiry proceeds, engaging with films that compel reconsideration and catalyze theorizations of new concepts: Lynch’s latest works, Mulholland Dr. The notion of “thinking through” films, toward the production of concepts, is not metaphorical or analogical rather, this serves as a key task, one that Gilles Deleuze has posed for us, through his practice of philosophy as constructivism, functioning to generate possibilities rather than to ossify established views. Beginning as an epistemological inquiry, the point of departure explores the “possibility of thinking in cinema through cinema”- ultimately producing an ontological theorization, with multiple implications. ![]() A proposition, rather than a polemical argument and one composed in the subjunctive or “as if” modality of art, rather than the diagnostic “as such” of descriptive analysis.
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