A Cinema of Dust: On the Ontology of the Image from Dreyer’s Thorvaldsen to Ordrupgaard’s Dreyer
نویسنده
چکیده
‘If cinema does not give us the presence of the body and cannot give it to us, this is perhaps also because it sets itself a different objective: it spreads an “experimental night” or a white space over us; it works with “dancing seeds’ and a “luminous dust”; it affects the visible with a fundamental disturbance, and the world with a suspension, which contradicts all natural perception. What it produces in this way is the genesis of an unknown body.’ (Deleuze, Cinema 2)
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