Antonioni's approach to filmmaking provides a clear example of philosopher Wilhelm Wurzer's notion of *filming*, a term Wurzer uses neither to signify the specific practice of filmmaking, nor in the sense of a 'quantitative proliferation of images' that carry out the calculative and productivist goals of the visual in a technocratic society. [1] *Filming* denotes, among other things, 'an imaginal mode of discerning which releases the imagination toward radical disinterestedness . . . imagination's fall from the principle of *telos*', and (...) the possibility of representation being 'free of the explicit dominance of subjectivity'. [2] In this discussion I would like to examine a few scenes from Antonioni's _Blowup_ (1966) that consistently enact the representational features just mentioned. By radically deconstructing notions of illusion no less than those of reality, Antonioni ultimately demonstrates that the psychoanalytic notion of the imaginary -- adopted by Christian Metz and others, and based on the persistent opposition reality/illusion -- is no less implicated in a metaphysical dynamics of presence than any naive notions of realism. (shrink)

This essay begins by considering Samuel Fuller's 1963 film Shock Corridor as a model of schizo-violence – a disorganised violence that eludes the Oedipal, moralising binary of action and reaction, and instead opens up the violent action to multiple becomings outside Oedipal and nationalistic framings. Through the de-Oedipalisation of the violent events punctuating American history, Shock Corridor performs a schizoanalytic model of desire capable of giving free rein to the force of traumatic affections. The latter part of the discussion situates (...) Fuller's film and the contemporary US military machine as diametrically opposed in their approaches to what we might call ‘the affective politics of war’. Several contemporary scenarios revolving around both actual war violence and Kathryn Bigelow's film The Hurt Locker (2008) serve to show how the schizophrenising operations of the brain itself constitute the greatest obstacle in the military's efforts to contain or repress the traumatic affections generated by violence and war. (shrink)

This essay undertakes a joint exploration of Gilbert Simondon’s philosophy of individuation and Bill Viola’s video art to propose an ontogenetic model of ecology and a corresponding politic...