Hi EJMD,
A decade ago I wrote an article entitled "Is Liz Berkley The Body without Organs"?
I was motivated to do so by the noxiously conformist gang-rape attitude of Amerikan film criticism
towards both the film and Ms Berkley.
Now I might mention that only those deprived of vision--such as Mr Kleinhaus-- personally attack 21-year old women in their first film role. OTH I, being of the elitist preening genre, choose to defend the minoritarian and the un-accepted as evocative of a marginalist event.
What, I asked, did my inferiors miss? When, I implored, will these Amerikans join Western Civilizaton and begin to understand that film is, in its essence, an interrogation, and not a moronic happy resolution? Perhaps only then I might exchange a 'c' for the diegetic 'k'; but my pipples will have to first de-nazify their minds.
To this end, I pose the problematic as to why Europe accepted Showgirls as a work of art? Is there some non-Humean causality at work here that correlates film-sensitivity to socialized medicine and free college based upon performance? So the least I could do was to stand as a tiny beacon of light, shining forth on the yahoos and semiologists alike...now for several points:
* We must ask ourselves why Showgirls isn't sexy despite the nudity and glitter. Then we, the observers, can better understand the frustration of many at having been denied the empowered pov of becoming aroused. Then we might begin to understand why these, poor frustrated souls say such nasty things in print. The dis-empowered micro-fascist wants his sexual lollypop, or else.
* The lolly-pop crowd also demands 'identification' with the main character. Otherwise, the film is said to suck. But this, too, is denied by Veerhoven. Please remember that the film is entitled 'Showgirls', and theirs is a lived docudrama researched and brought to you by Liz, Joe, and Paul.
* Nomi Malone, in Latin, means 'assumed identity', which is how she presents herself. later on, we discover her real name to be 'Polly Andersell', or greeklish for prostitute. Again, we are faced with a typology rather than a subject.
* finally, the subject emerges through the cristalline structure as described within the narrative. This is the Bergsonian/Deleuzian 'je fele' for those preening types who actually read philosophy.
This, of course, is due to a choice to reject the pre-established 'plane of consistency' that we, the observer, have been deceived (one again) into believing will produce a happy outcome for our now-identifiable heroine who, because we all love her will win an Oscar, etc.
The point of dis-organization, which in this particular is the organic connectedness of the dancer to The Show, is called The Body without Organs. It derives from Artaud, by the way. Nomi arrives, becomes connected, and dis-connects; therefore dis-organizing as a moral choice. This ostensibly reflects back upon the mindless, conforming rabble of Hollywood who cannot. Nomi is our Antigone. her tribunal, so to speak, is before that of The Industry.
Spinozan readers can also recognize the query from Ethics as 'What can the body do?
Here, Veerhoven dives into the conceptual simulacra that artificaly divides dance -as -sexual from dance- as- art. Hence, we have the exploration of the interplay of the sexual with art as such.
This, again, irritates, which is precisely the point. We like to believe that dance is basically 'aesthetic/contemplative' because that's what Kant taught us is good to think.
Perhaps a reprise of Showgirls against the just-released Black Swine will indicate how far standards have lapsed, and how important Veerhoven really is. The latter is all about nothing but a director's badly-informed notion of neuropsychosis as imposed upon the world of ballet. It tells us nothing about how The Ballet-thing works, but since it's full of stock characters (wild 'n crazy gurl vs priggish prima vs overbearing mom vs Eurotrash impressario) it's bound to be a 'critical' hit.
besides, it's realy kool to think that those serious types who really work hard are, like, totally psycho inside. Thse are the thoughts that keep Amerika going, and that really doesn't suck.
BH
--
Film-Philosophy
After hitting 'reply' please always delete the text of the message you are replying to
To leave, send the message: leave film-philosophy to: [log in to unmask]
Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
For technical help email: [log in to unmask], not the list
--
Film-Philosophy journal: http://www.film-philosophy.com/
Film-Philosophy Conference (6-8 July 2011): http://www.film-philosophy.com/conference/
Contact: [log in to unmask]
--
