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philip rizk

philip rizk's Public Library

Jul 20, 16

"It was Eisenstein’s hope to harness that frenzy for revolutionary purposes, fond as he was of quoting Marx’s dictum that the point is not to understand history but to change it."

  • Just as the conflict of classes drove history – with the bourgeoisie as thesis clashing with the proletariat as antithesis to yield the triumphant progressive synthesis of the classless society
  • his view, editing involved the audience more than the passive reception of information from static and lengthy shots; that as viewers we actively come to the symbolic realisations of intellectual montage, and are driven into a Pavlovian frenzy by the dynamism of the rhythms of the Odessa Steps
  • It was Eisenstein’s hope to harness that frenzy for revolutionary purposes, fond as he was of quoting Marx’s dictum that the point is not to understand history but to change it.

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  • he saw beauty in the toil of the poor
  • But in the end, after he had given away everything and was sleeping on the floor of his abandoned hut, feverish and delirious, barely preaching anymore, the townspeople began, as people would for the rest of his life, to think him mad.
  • “I should be happy if some day I could draw them,” he wrote, “so that these unknown types would be brought before the eyes of the people.”
Jul 16, 16

"‘The plastic charm of factory reality was so strong that the line of the actual material of reality burst into flames with new ardour. It drew everyone under its spell.... and had to break the bounds of that art where it could not exploit its potential to the full.’"

  • ‘The plastic charm of factory reality was so strong that the line of the actual material of reality burst into flames with new ardour. It drew everyone under its spell.... and had to break the bounds of that art where it could not exploit its potential to the full.’
  • Strike, he uses the factory as a topos in the filmic sense. In other words, it is not deployed in its entirety as an attraction, as was the case in Gas Masks; nor do the monotony and the rhythmic montage of the work gestures in Strike constitute the expressive character of the material as in Vertov’s film Enthusiasm.
  • new linkages between bodies and machines

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  • However LEFists critiqued his film for being too personal, deeming the impersonality of Shub’s work more exemplary of the Revolution. Soviet film theorists praised Shub’s invisible authority as truly revolutionary, for it was consumed effectively as propaganda.

  • “bracketing” of war—its ‘rationalization, humanization, and legalization—and its consequent nomos that Schmitt finds so important
  • The status of the opponent state itself was not in question, which marks a clear problem for today’s civil conflicts, the new label of “criminal insurgents” or the case, for instance ,of Israel/Palestine in which neither side seems to afford the other the status of legitimate statehood.
  • The enemy who threatens this nomos is an “unjust enemy,” an enemy of all with no political recognition

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  • With others following their lead, these "media assassins" coined the phrase "Channel Zero" to describe vapid network programming that lulls black viewers into self-destructive complacency.
  • camcorder activists
  • include nine members who share one video camera to record their footage.

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  • March 3, 1991, police officers in Los Angeles, California, stopped a car driven by a 34-year-old African-American named Rodney King, who, they said, was speeding.
  • Within two and a half hours of the verdict, a crowd of furious protesters gathered at the corner of Florence and Normandie Streets in South Central Los Angeles and through the next day and night rioting exploded across 50 square miles. At the same time, smaller disturbances were erupting in cities such as San Francisco, California; Seattle, Washington; Atlanta, Georgia; and Pittsburgh, Pennsylvania.
  • On April 29, 1992, all four men were acquitted.

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