Modern theories of cinema in fact unceasingly return to “the simplest question: the body, how do you find it?” The great analyses of the last years have looked into the ways in which film presupposes, elaborates, gives or abstracts a body, not hesitating to pose again such primitive questions as what texture is it (flesh, marble, plaster, affect, doxa)? What is its framework (skeleton, semblance, becoming, a structure of formlessness [plastiques de l'informe])? What destroys it (the other, history, deforming its contours)? What kind of community does its gestures allow it to envision (people, collectivity [collection], alignment with the same)? To what regime of the visible has it submitted (apparition, extinction, haunting)? What is its story really (an adventure, a description, a panoply)? What creature is it at bottom (an organism, an effigy, a cadaver)? ( In sum, they have explored the ways in which a film invents a figurative logic.
Nicole Brenez in «The ultimate journey: remarks on contemporary theory»
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