Thoughts/’summaries’ on cinema

1) Cinema summary #1: In Ozu, one event happens, usually after the spectator has come to terms with the redundancy of the repetitive editing. The event marks a distinct change in rhythm and is usually followed by an ellipse. The event transforms the temporality of the multiplicity before and after it. The ellipse allows Ozu to make the event’s dominance absent. This is followed by random, banal images denoting ‘one event in the cosmos that will never repeat.’ In this way Ozu challenges the rhythm of the connotational and refers to the volume of the image beyond the denotational.
2) Cinema Summary #2: In Bresson, everything is made present through the sequence but then made absent through its end. (Kamal Swaroop’s reading holds ‘sab kuch dikhao, lekin kuch mat dikhao)
3) Cinema Summary #3: Antonioni thinks of bodies, then makes them vanish, the actor is made into a present body. Its vanishing refers to the non-denotational aspect present on the outside. According to Deleuze’s reading of Foucault it is nothing but ‘the inside of an outside’
4) Cinema Summary #4: In Mani Kaul, the sensory and motor are primarily established. The motor elements are distributed with the question ‘lets see how they arrange themselves’ The sensory motor schizoanalysis (Deleuze) occurs in sequences where the delayed action and repeated footage complement each other. Usually the motor ends with the sensory but in Desert of a Thousand Lines (1981) the sensory ends in the hyper sensory.
5) Cinema Summary #5: Mani Kaul’s reading of Godard holds: ‘the actor-body is made constituent of the image body’ THe image constitutes an exteriority defined by in between spaces, kitsch, poster art, Hollywood etc. When the motor can no longer hold it gives way to text (Vivre Sa Vie), Godard’s own commentary (Bande A Parte) or absent space (Two or Three Things I Know About Her)
6) Cinema Summary #6: Robbe-Grillet makes the image body constitute a Godardian logic of body, whereas Bresson’s inside leading to outside gives way to possibility, randomness, the text being constructed. These are arranged in either a state of order or disorder. The order/disorder composite defines the flow of events until the spectator is confronted with definite realizations, the game in Marienbad, the slapping sequence in Hiroshima or the location space in Night and Fog.
7) Cinema Summary #7: Imamura is an original film maker as he constitutes text as filming instead of vice-versa.
8) Cinema Summary #8: Masumura continues to be the ignored film maker. He creates a machine where an overdose of text forms a Marxist accumulation assemblage. Whereas the obvious denotations ‘represent’ Japanese capitalism. The formalist editing is half way between montage and mise-en-scene
9) Cinema Summary #9: In Kiarostami the images, stretched beyond their denotational limit, are held together by the voice. The in-between space between filming and composition, documentary and fiction is nothing but old Deleuzean problematic of differences between utterable and utterance.
10 Attempted reading of Marguerite Duras: Gilles Deleuze argues that only Duras is able to achieve liquefaction of the image, a fundamental of Marxist film practice where the solid(society/Space) melts into air (multiplicity/temporality as basis of Marxist exchange value) through the intermediate liquid. Mani Kaul attempts this in Nazar(1989) and Idiot (1991) through using camera as if the gaze is of a person with one eye (point to be noted and discussed). The gaze is not however of the other, in both Kaul and Duras, but of a mad character possibly a man or woman. The gaze of madness creates a Deleuzean schizoanalysis between samness of voice and names used beyond their denotational limit as sounds (her film is titled: Same Name Venice and Desert in Calcutta (1976)) and difference.The sameness (of voice) like in Bresson is used to create difference(different machines, different grades kafkaesque hierarchy). It becomes a Deleuzean machine against the capitalist machine but can be read as ontology of capitalism in Heiddegerean tradition.The presence of absence (feminist practice) is mediated by a question (‘le question’ which Godard asks Bresson in 1967, Cahrier Du Cinema) ‘perhaps?’ perhaps Vera Baxter exists, perhaps Venice and Calcutta are the same and perhaps the mad person is male , perhaps a female etc. Mani Kaul also tries a similar device in Nazar… where Shekhar Kapur defines the utterable as ‘shayad?’ and then negates it ‘nahi’ Therefore the voice ties up with the editing (through voice over) and is rhizomatic in the Deleuzean sense whereas the hierarchy machine is tree like in the Chomskian sense. The rhizome and tree constitute two sides of Deleuzean anti-Oedipal machine in Duras.
11) Two possibilities in Mani Kaul and Marguerite Duras: Either all the characters are mad or they are ghosts.
12) Several possibilities in Robbe-Grillet:
1) That there is a case of Order but at rest: This static order creates geometrical shapes and volumes that constitute most of his text, they are a realization of text as space.
2) That there is a case of Order but in motion: The static spaces move and create a dynamism for accident to occur. The game or the retake in film, give the film maker opportunity to construct the accident. Now in an exceptional case only the outtake from the previous film (rejected ‘other’ takes) create the accident possible through the roll of the dice (game). This is the case in his film N Rolls of the Dice (1971).
3) Elements of disorder: The image of the other through
a) Fantasy: Erotic imagery
b) Newsreel footage (also in Antonioni’s Passenger)
c) References to paintings by Rene Magritte (which also refer to materiality of the medium- what Jains may call pudgala)
d) The police and politics as state of disorder
e) Replaced recognition or naming of things that are apparatuses for construction

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