A key question for a process-relational account of a film is the question of how that film shows objects and subjects in the process of being made — how it shows subjectivation and objectivation arising together. Much of Ecologies of the Moving Image is about this, but what remains more implicit throughout the book is the way in which film itself expresses subjectivation.
I thought of this while re-watching Up the Yangtze, Yung Chang’s documentary about a “farewell cruise” on the Yangtze River before the completion of the final phase of the Three Gorges Dam.
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Teaching my film course (especially in its current rendition as “Ecology Film Philosophy”) and the book that goes with it (Ecologies of the Moving Image, which will be publicly available in July) — and especially teaching the Andrei Tarkovsky film Stalker, which serves as a sort of template for the book — makes me feel like the Stalker in the film.
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More here and here and here.
We haven’t been there in
Can someone please turn down the thermostat?
*The exclamation mark that was originally in this title bothered me; seemed too celebratory (hardly the intent). So I’ve trashed it.