with jessie beier
“The question is no longer what we see behind an image but rather, how we can endure what we see in it already" (Deleuze, Cinema II, p. 230).
Welcome to CINEMACHINE, a monthly discussion group that brings together people, film, and contemporary theory to produce new sites for dialogue and dissent. Each month we will explore a film in relation to the Drawing Room exhibitions, linking to some of the bigger questions at play in our contemporary moment — representation, identity, technology, politics. The aim of this group (albeit an aim that is untimely) is to move beyond those analyses of the world that are based on always-already coded modes of knowing, towards an image of the world that operates at the limit of experience, experience in excess of itself.
Let’s sense. Let’s think. Let’s become with our world.
Here’s how it works:
Each month a new film is chosen and can be watched at your leisure (links will be provided when possible). Each film will be paired with one (or more) theoretical texts to get us thinking! The discussion will be held at the Drawing Room and will be hosted by Jessie Beier. Jessie will begin with a brief intro to the theory/film at hand, setting the machine in motion. Then, discussion ensues!
THIS MONTH'S FILM:
Holy Motors (2012)
Text: The Bleed (2002), Brian Massumi, from “Parables for the Virtual: Movement, Affect, Sensation”
“All the world's a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages” (William Shakespeare).
“…there is power in acting, which is faulted not for the kind of process it sets in motion but rather for the inability to take that process far enough to realize the power inherent in it. The process is a question of seeing. A seeing of oneself. Specifically, a seeing of oneself as others see one. The problem with acting isn’t that it carries the actor outside of himself, out of his character into another, out of his real self into a false double; it is that it doesn’t take the actor far enough outside of himself” (Massumi, The Bleed, 2002).
Join us for the inaugural CINEMACHINE discussion group with a journey into the strange fantasy world of Leos Carax’s ”HOLY MOTORS”. As a response to the current Drawing Room exhibition “Nervure” by Mel Liles and Sergio Serrano, our first discussion will investigate Carax’s film in relation to ideas of performance, anxiety, disenchantment, delusion and derealization. These themes are especially pertinent in a contemporary moment where the line between “fiction” and “reality” is increasingly dissolving. In what ways does performance infiltrate our daily lives? What are the conceptual and material conditions that such performances produce? In what ways does performance impact our capacity to affect and be affected in our contemporary moment?
Here’s what to do:
1. Check out Holy Motors (2012). You can find it on Netflix! If you are having trouble finding a link, let us know.
2. Read the attached article: “The Bleed” by Brian Massumi. This text is a bit dense (for me anyways) so feel free to read through it and highlight any pertinent passages that make you think, particularly in relation to the film or your own experiences/interests.
3. Feel free to RSVP and post ideas/questions/links/videos/etc… to this virtual space to get the discussion-machine going early.
4. Join our discussion on August 16! Come with notes or nothing at all. :) Looking forward to seeing you there!