The very origin of the SYSTEM OF CINEMA must be subverted:
- cinéma: l’autre monde
“For any ardent materialism, truth is madness.” (Land)
For an ardent capitalism, madness is truth.
- cinéma: l’histoire
Structured LIKE A LANGUAGE, the filmic 4th-dimension is an unconscious colonised by a system of hyper-production, commodified into a SUBJECT whose meaning it is.
- cinéma: le réel
Just as pathology denotes the abnormal,
the image produces the real.
- cinéma: l’aliénation
Reflecting the sexual logic of taboo & transgression, the SYSTEM OF CINEMA venerates order & derives its gratification principally from it. It proffers emancipation as the zero sum in a movement of convulsive signification: cinema or nothing. As desire is the discourse of the unconscious, cinema is the dream of capitalism.
The armature of any system of representation is MONTAGE:
Montage isn’t an attribute. <–> Montage is (image) ontology.
The IMAGE is abstracted from montage as a quantum state is abstracted from superposition: event from probability.
Montage as xeno-paradox:
The autopoietic “interval” of a between-two-angular-momentums;
The indivisible Planck limit of a “difference-without-terms”;
The teleology of the present; of presence, as WRITING (cinematographia).
Montage doesn’t produce an image of thought (dialectics), it is the operation of cinematic thought “itself.”
ENTROPY is the dramaturgy of FILM FORM: the eternally diminishing return, refracted, polarised.
The subversion of cinema is the dissipation of IMAGE as “surplus production” into a logistics of NON-WORK. Montage as radical AMBIVIOLENCE.