In the case of Ballet mécanique, however, it is no longer a question of competing with or dominating spectacular vision from within painting. Opting for a different strategy, Léger works against cinematic absorption and the pseudo-intensity of cinema from within cinema itself.
In other words, following some difficult sentences on contingency, the play drive will “introduce form into matter and reality into form. To the extent that it deprives feelings and passions of their dynamic power, it will bring them into harmony with the ideas of reason; and to the extent that it deprives the laws of reason of their moral compulsion, it will reconcile them with the interests of the senses.”
Walter Benn Michael’s “Neoliberal Aesthetics: Fried, Rancière and the Form of the Photograph,” published in our first issue, has generated responses from Michael Clune, Nicholas Brown, and Todd Cronan.
…for me much of what is most immediately gripping in June 8, 1968 turns on the contrast or say the felt difference between the stagedness plus residual “magic” of absorption of the “mourners” and the wholly unselfconscious albeit dramatic, in certain scenes one might say over-the-top beauty of the natural world…