Our white rectangle is not “nothing at all.” In fact, it is, in the end, all we have. That is one of the limits of the art of film.
Our white rectangle is not “nothing at all.” In fact, it is, in the end, all we have. That is one of the limits of the art of film.
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A wound with blood and pus, or the sickly, acrid smell of sweat, of decay, does not signify death. In the presence of signified death — a flat encephalograph, for instance — I would understand, react, or accept. No, as in true theater, without makeup or masks, refuse and corpses show me what I permanently thrust aside in order to live. These body fluids, this defilement, this shit are what life withstands, hardly and with difficulty, on the part of death. There, I am at the border of my condition as a living being. My body extricates itself, as being alive, from that border. Such wastes drop so that I might live, until, from loss to loss, nothing remains in me and my entire body falls beyond the limit — cadere, cadaver.
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Julia Kristeva | Powers of Horror: An Essay on Abjection