Even after reading Warren Bucklands and others interpretation of the concept
of the Moebius strip with regards to *lost highway*, I am not convinced that
I am in need of this concept for one reason: It is a (good) metaphor for
interpreting the film and its repetitions and reversal, but still the
interpretation does not depend on that. The interpretation sounds as if
non-linearity of narration depends on the application of this concept, as if
it was invented for this film. So what about Alain Resnais and others? Or
what about Kierkegaard and his thoughts on repititions. In Resnais' cinema
it is connected to memory and consciousness, but it expresses something as
an anxiety or a feeling of loss, which Kent Jones once described with the
term of *repetition compulsion*, which he connected to the films of Lynch,
Wes Anderson, Kiarostami, Wong Kar Wai or to *Ghostworld* (Film Comment,
Nov/Dec 2001). When I said that what's significant about the film is what is
right before my eyes, I didn't mean that the films don't deserve to be
treated philosophically, but that they should be connected to what they say
about ourselves, even in their very abstractness. That's what I find amazing
about Resnais' films, but which is somehow lost in the readings given by
Deleuze. And many of the contribution to the discussion of Lynch's film did
that. But I still think, Lynch's films sometimes provoke an abstractness of
thinking which they don't deserve or need, or which lets the film look
better than they are.
I was connecting Moebius strip to Deleuze because he is using so many
scientific terms to interpret the thought of films.
Dejan was wondering, why I was referring to the enjoyment of a film.
Shouldn't that be the starting point of any good discussion of film. We
shouldn't need theory to convince us that the films are better than they
were. We need theory to come to terms with how they disturbed or moved us
(another word for what is the joy of film). Theory comes after the film.
Herbert.
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