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The first vehicle of this subjective project is maintenance of the body against decay in the context of a belief in an afterlife, amounting to
an obsession with the problem of “embalming time.” Thus, we can call the founding obsession preservative. The history of the representational
arts can then be seen as sublimations of this impossible impulse to defeat death

This subjective project—or subjective projection—finds increasingly intensive satisfactions in a long-term, progressive succession of representational technologies.

No matter how much it matches the spatial
organization of a photograph, a painting does not have the former’s degree of credibility since it cannot serve as evidence of the presence of
the referent at some moment of production of the sign. ….Spatial likeness and deviance are finally not the crux of Bazinian realism.

It is precisely the activity and desire of the subject—“‘our obsession’ with realism”—that makes indexicality the crucial aspect of the cinematic image for Bazin.

Ch1: Subject, Ontology, And Historicity in Bazin

NORM: 'I slept and dreamed that life was beauty; I woke and found that life was Duty?’
YOUNG GIRLIE: Oh?
NORM: That's the hardest lesson in life, I reckon. Accepting how the coin falls and making the best of it.

但是內翻足忽然來阻止我。唯有這個絕對不可能透明。與其說它是腳，毋寧是一種頑固的精神，是作為比肉體更明確的「物」存在。

坐著的柏木，和行走時不同，只是與常人無異的學生。不僅如此，他蒼白的臉孔甚至有一種犀利的美感。肉體殘缺者和美女一樣有種無敵之美。⋯⋯
他在陽光中自給自足，這個印象打動了我。

柏木最大的特色就是雙腳是嚴重的內翻足。走路相當艱難，總像在泥濘中行走，彷彿好不容易才把一隻腳拔出泥濘，另一隻腳又陷入泥濘。而且全身隨之躍動，步行成了一種煞有介事的舞蹈，全然失去了日常性。

為何雪不會口吃？我思忖。有時雪花被八角金盤的葉片阻擋，也會口吃似地卡住一下才落地。

我被隔絕在這一切之外。我沒錢，沒有自由，也沒有解放。但當我說出「新時代」時，十七歲的我，雖然尚未明確成型，卻已下定一個決心。
「世間眾生若是在生活與行動中體驗罪惡，那我要盡量深沉地墜入內心之惡。」

日本戰敗於我而言，就只是如此絕望的體驗（⋯⋯）人們說一切價值都已崩壞，可我內心正好相反，「永遠」甦醒了，它捲土重來，主張那個權利。那是宣告金閣未來永存的永遠。

in film, where Tom Gunning has identified what in our present context might be described as a movement from modernism to realism. D. W. Griffith, who rightly or wrongly is traditionally credited with having invented the modern (fiction) film as we know it began with atmospheric sketches (of a photographic nature) which it was his mission to develop into plots and narrativity as such.

內側與外側，假設把人類當成玫瑰花那樣不分內外的東西來觀察，這種想法為何會看來毫無人性呢？如果人的精神內在與肉體內在，也能像玫瑰花瓣一樣柔順翻飛，捲曲，暴露在陽光與五月的微風中該多好⋯⋯

露出的腸子為何淒慘呢？為何看到人的內在，會不由悚然，忍不住矇眼呢？為何流血會帶給人們衝擊？為何人的內臟是醜陋的呢？⋯⋯那和光滑年輕的皮膚之美，不是完全同質嗎？⋯⋯

女人消失後（⋯）我都在執拗地想。那個女人，的確就是起死回生的有為子本人。

如果滿腦子只想著美，人類就會不知不覺撞上這世間最黑暗的思想。

「從這扇門沒辦法回到過去⋯⋯這扇門我才建好一個星期，所以二十年前這扇門還不存在。你根本過不去。」

「巧合和刻意就像一張壁毯的兩面，你或許會比較喜歡某一面，但你卻不能一口咬定那一面才是真的，另一面是假的。」

「我們既是聽故事的人，也是故事裡的人。」

〈商人與煉金術師之門〉

“(In films like Casablanca or Psycho) conceptions are easier to deal with than perceptions.”

“The contemplative turn out of bodily and expressive life that speaks to a deep cultural need…the turn of which for Cassavetes is a turn out of life.”

“Visionary stylistics makes unmediated expressions possible…communication becomes a form of mind reading.
…
“In so far as pov shooting and editing presents experience in terms of glances and visions, it reinforces this narrative project by offering an almost purely disembodied, nonsensory, derealized model of experience.

“Kane ‘is’ the effects of the mise en scène, the lighting, the focal length of the lenses used(…)

In Welles there are plenty of ideas abt exp and metaphors for exp, but very little actual perceptual experience. (The dining montage that alludes Kane’s doomed 1st marriage as an example.)

In Welles there are plenty of ideas abt exp and metaphors for exp, but very little actual perceptual experience. (The dining montage that alludes Kane’s doomed 1st marriage as an example.)

“There is nothing but surface”

在很痛苦的時候偶然拿起這本看完了第一篇〈然後變成熊熊〉。也許不是最好也不是我最喜歡的那種故事但沒想到結局是這樣。當下的我最需要的那種結局。因此十分感謝。在此紀錄