by Lawrence Grossberg
But too often discussions about technology use are conducted in bad faith, particularly when the detoxers and disconnectionists and digital-etiquette-police seem more interested in discussing the trivial differences of when and how one looks at the screen rather than the larger moral quandaries of what one is doing with the screen. But the disconnectionists’ selfie-help has little to do with technology and more to do with enforcing a traditional vision of the natural, healthy, and normal. Disconnect. Take breaks. Unplug all you want. You’ll have different experiences and enjoy them, but you won’t be any more healthy or real.
Movies and TV shows have given us a deeply misleading picture of how people behave after incidents like this, one where the folks at the scene of the crime lose their minds while those who have the benefit of distance keep a steady head. This is backwards.
by Steven Shaviro
In recent action blockbusters by the likes of Michael Bay and Tony Scott, there no longer seems to be any concern for delineating the geography of action, by clearly anchoring it in time and space. Instead, gunfights, martial arts battles, and car chases are rendered through sequences involving shaky handheld cameras, extreme or even impossible camera angles, and much composited digital material — all stiched together with rapid cuts, frequently involving deliberately mismatched shots. The sequence becomes a jagged collage of fragments of explosions, crashes, physical lunges, and violently accelerated motions. There is no sense of spatiotemporal continuity; all that matters is delivering a continual series of shocks to the audience.
we are in a “post-continuity” situation when continuity has ceased to be important — or at least has ceased to be as important as it used to be.
Today, neither the use of continuity rules nor their violation is at the center of the audience’s experience any longer.
In post-continuity films, unlike classical ones, continuity rules are used opportunistically and occasionally, rather than structurally and pervasively. Narrative is not abandoned, but it is articulated in a space and time that are no longer classical. For space and time themselves have become relativized or unhinged.
the camera movement which is (to paraphrase Deleuze) a line which connects what is disconnected, while keeping it disconnected! Yet this is precisely the complexity of what we are given to see, as spectators, in a film by Mizoguchi or so many other filmmakers: this ambiguous or ambivalent interplay of what connects or disconnects, links or unlinks, the people and objects and elements of the world.
the way in which we can indeed assign some broader significance to the larger phenomenon of post-continuity: to see what it connects and what it disconnects.
Bailey proposes that the real hallmark of “chaos cinema” is “spatial confusion,” even when this is accomplished without “eruptive cutting.”
the films do not altogether dispense with the concerns of classical continuity; but they move ‘beyond’ it or apart from it, so that their energies and their investments point elsewhere. What is common to all these styles is that they are no longer centered upon classical continuity,
To really understand the value of animated GIFs, you have to go back even farther—to 1879 and Eadweard Muybridge’s “zoopraxiscope.”
AFFECT/AFFECTION. Neither word denotes a personal feeling (sentiment in Deleuze and Guattai). L’affect (Spinoza’s affectus) is an ability to affect and be affected. It is a prepersonal intensity corresponding to the passage from one experiential state of the body to another and implying an augmentation or diminution in that body’s capacity to act. L’affection (Spinoza’s affection) is each such state considered as an encounter between the affected body and a second, affecting, body … (Massumi, Plateaus xvi)
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