Here’s a fragment from Chapter 3 of Ecologies of the Moving Image. This chapter covers cinema’s “geomorphism,” by which I mean the part of cinema’s world-making capacity, its becoming-world-ness, that presents us with an objectscape, a territory within which things happen and action occurs. This is in contrast to cinema’s “anthropomorphism” (a subset of “subjectomorphism”), which refers to the cinematic production and distribution of agency, the capacity to act (which is the film-world’s subjectscape). Between these two poles is the “biomorphic field,” the interactive liveliness within which subjectivation and objectivation are distinguished and separated from each other, moment to moment. [. . .]
It is here, in the factory -– the central production site of modernity, but here in its double aspect as organic-mechanical construction site and as imagistic and imaginal production workshop, the center from which images are produced and disseminated — that Prospero’s Books most literally takes place. Here is Jonathan Beller’s ‘cinematic mode of production,’ turned to the deconstructive ends of staging modernity’s own unraveling.