The KissMuch of my problem with so-called experimental cinema is a matter of language, and my marriage to it as both a viewer and a critic, despite language’s inevitable failure in the face of other forms of meaning. Some of my difficulty is based on background and affinities, some of it exposure and/or familiarity; most is plain obduracy. For whatever reason we may chose to fixate on, I have a hard time letting non-narrative films tell me how to read them beyond the sense I can put into words. After all, I am inarticulate without them.One friend says the trick is to bring the films “down” to the most fundamental ways in which they work, how the pieces may “add up”—but again this is a metaphor, which is of course the premise of language—an arbitrary equation of different things—and awfully teleological in a realm...
- 4/27/2015
- by Ryland Walker Knight
- MUBI
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