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The film attempts to construct a space (as all films do), to construct a time (as all films do), to construct a process (as all films do) of and for viewing, of and for the viewer to constantly re-process, re-memorate, re-produce it (him/her) self in attempted (but impossible) arrestation. Thus the impossibility, through such a practice as this film, 4th Wall, of a seamlessness, a linear narrative flow, a pleasure of the sort so sought for as in its delirium it reestablishes in all its power the ideology of meaning making. The secure place for the finding of meaning in representation is that secure place: of sexist power, of the ideology of transparency, meaning/consumption in the guise of 'meaning making', the catatonic hysterical statis of/for the viewer, given more and more as the 'position of the subject', etc, a new ideology of freedom, which must be countered (again, a defence) with another ideology; this.
January 1, 1978 · 38m
The film attempts to construct a space (as all films do), to construct a time (as all films do), to construct a process (as all films do) of and for viewing, of and for the viewer to constantly re-process, re-memorate, re-produce it (him/her) self in attempted (but impossible) arrestation. Thus the impossibility, through such a practice as this film, 4th Wall, of a seamlessness, a linear narrative flow, a pleasure of the sort so sought for as in its delirium it reestablishes in all its power the ideology of meaning making. The secure place for the finding of meaning in representation is that secure place: of sexist power, of the ideology of transparency, meaning/consumption in the guise of 'meaning making', the catatonic hysterical statis of/for the viewer, given more and more as the 'position of the subject', etc, a new ideology of freedom, which must be countered (again, a defence) with another ideology; this.