Thisreflexive use of the camera, which does not seek to make itself invisible butrather continually emphasizes the relationship(s) between filmer(s) andfilmed and acknowledges, even focuses and comments upon, the camera’spresence, more resembles Jean Rouch’s notion of the camera as a catalystthat can elicit hitherto unarticulated truths through its interaction with thesubject than it does the distanced "objectivity" of observational cinema.

Silverlake Life similarly draws on both the observational and the catalytictraditions, at times giving an impression of direct observation,

The structuring process of editing suppresses someinterpretations while it emphasizes —and manufactures—others. Importantaspects of a subject’s experience or perspective may remain silenced

diegetic

What is preserved in the still image, and the “instamatic” photograph in particular, is the compression of the present and the resistance to letting the moment pass into the past without securing its return

homeopathic

The making of the film, rather than the taking of his pills, is the way to enhance, if not prolong, his life

Deleuze

ontological

body politic

phantasy

n Vertigo, subjective camera predominates. Apart from one flash-back from Judy's point of view, the narrative is woven around what Scottie sees or fails to see. The audience follows the growth of his erotic obsession and subsequent despair precisely from his point of view. Scottie's voyeurism is blatant: he falls in love with a woman he follows and spies on without speaking to.

I have accounted for neither the full depth and variety of our conflicts nor the multiplicity of their possible outcomes. What I offer to rectify this inadequacy is simply a list, to which anyone might add, of the problems we f

he same o

, hypercathex

ss. Secondly, Freud can tell us very little about our grieving rituals, our memorial services and candlelight marche

n. This is not to say that there is no vision of normalcy in Freud, only that there is also no such thing as ever fully achieving it,for anyo

ess: for whom is this application of literary theory intended other than those within the academy who will find it, simply, interesting

e Derridi

t a dema

sed

g photog

Jack F

e of colored bandannas worn in jeans pock

"Of course it could have been avoided .. .It's the principle of the thing. It's the god damn principle." 45 Was it worth it?

For people not used to living under explicit surveillance, finding oneself stripped of a sense of privacy is profoundly disturbing

Sex is work for us, itis a duty. The duty to please is so built into our sexualitythat we have learned to get pleasure out of giving pleasure,out of getting men excited

We might not serve oneman, but we are all in a servant relation with respect tothe whole male world.

Ba then you had to at least be interesting.

Being an incomplete female, the male spends his life attempting to complete himself, to become female. He attempts to do this by constantly seeking out, fraternizing with and trying to live through an fuse with the female, and by claiming as his own all female characteristics -- emotional strength and independence, forcefulness, dynamism, decisiveness, coolness, objectivity, assertiveness, courage, integrity, vitality, intensity, depth of character, grooviness, etc -- and projecting onto women all male traits -- vanity, frivolity, triviality, weakness, etc.

e are socialists because we believe that work must be organized for the collective benefit of those who do the work and create the products, and not for the profit of the bosses.