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Kath's strategy to cure Pete's story anemia is geared to taking turns in telling each other stories while sailing their boat which, significantly, Pete called Story. Kath is nine months pregnant and her twin delivery due any time. That day it is decided to break up the trip and to return to Nopoint Point, the residing place of Kath's family and their friend and obstetrician, Jack Bass. Yet, just at that moment Peter refuses to leave the boat, for he has the feeling that his story-labor will soon get under way TT: This refusal is to set off a fight over emotions. Kath 2 , who brought this trip on the way for Peter's sake, feels that he should now put back his interests for the sake of their children-to-be:.

She won't say Damn him , or even Damn his damn writing: Look how reasonable she's being, even in her distress! Nor will she forbid him to ride with her down to Easton She's going to be reasonable all the way, damn her. In the first place, Pete's and Kath's fight is about what should have the priority: As quoted, Kath finds herself in a double-bind: She won't say Damn him The Tidewater Tales ' tour de force lies not in opposing reason to passion as it is the case in Eco or fact to fiction, but in showing on a figural level that they are not at all contradictory, that there is no static antagonism.

The novel is the locus where these metaphors come close , and in this context 'emotion' is not just their semantic force field. Literally and figurally the two are set in motion like the metaphors 'passion', 'fiction' or writing stories, Peter's favorites , 'reason', and 'fact' or the babies-to-be-born, Katherine's favorites. But what about the image sequence, the e motion picture? What about the imaginary self to be recognized in those images?

In the second line of the chapter the readers learn that this refers to "a whole new ball game", a metaphor used throughout the novel every time the protagonists are confronted with a new situation or constellation. Emotions culminate when Peter replies that "he can't go back to Nopoint Point. No, damn it, can't In The Tidewater Tales , stories, events, and characters are set in motion in which former literal and figural antagonists come so close that they almost connect though not in a static binding , like Kath and Pete: God damn it, Peter!

When after the octopus incident Slothrop has a midnight date with Katje Borgesius, the girl he 'saved' from the tentacles of the beast, they literally and figurally jump at each other:. Slothrop undoing belt, buttons, shoelaces hopping one foot at a time, oboy oboy , but the moonlight only whitens her back, and there is still a dark side, her ventral side, her face, that he can no longer see, a terrible beastlike change [ The image sequence is constituted step by step, at first with longer intervals, " During their spontaneously passionate sex act, Slothrop feels the need to look at Katje's face, the locus where emotion becomes visible, which would indicate to him if her passion is "real" factual or just play-acted fictional.

Yet, the need to find out about real or fake passion is beyond the control of reason: Contrary to Katje, Margherita Erdmann, who is on the search for her daughter, will surrender her face. Not even my face. When I wasn't running I was usually strapped or chained to something. Margherita seems frozen, deplete of emotion as her unmoved face suggests. Film appears as reality when it dispenses with motion and, as a consequence, with e motion. In her excitement Margherita, as she is again strapped and chained, wants Slothrop to perform sado-masochistic practices on her and asks him to be cruel: Find something to whip me with.

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The pain of a return home. The "movements" of the body are again "subdued" to another e motion sequence, the "silver memory" of the film in which the "monumental" is carried away and therefore put in quotation marks: Thus during their intercourse Margherita imagines Slothrop to be Max: At the climax she cries out " Bianca. The emotion culminates when the whipped body has reached its peak motion capacity. On the figural level, fact and fiction, the former antagonistic metaphors, come closest when most vehemently set in motion by the discourse of the novel: He tried to maintain it with seals of suspicion, looking for resemblances to the face he's last seen years ago over her mother's shoulder [ Was it really the same face?

Ilse's face does not hide or reveal emotion but triggers it off in Franz in the form of love: It could be, in fact, a fiction: In Ilse's and Franz's case the fact and fiction metaphors do not move around vehemently enough as before in Max's and Margherita's: Franz simply cannot authentically remember and therefore he cannot recognize himself in his daughter, who, he suspects, is rather unreal: He could settle for interrogating his daughter.

When she huddles up, "He hit her upside the head with his open hand, a loud and terrible blow. That took care of his anger.


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Then, before she could cry or speak, he had dragged her up on the bed next to him Contrary to Katherine's and Peter's e motion picture, in which hit follows after hit see above , Franz's unemotional farce is confined to one angry blow in Ilse's face, followed by hours of amazing 'incest'. The Art Object in Reproduction. Sarah Hamill and Megan Luke.

Getty Research Institute, Gilberto Alexandre Sobrinho and Alfredo Suppia. Jinhee Choi and Mattias Frey.

Achim Hescher, PhiN 8/

Liv Hausken, et al. What Does Time Express? Kino zwischen Technik und Leben. Adina Lauenburger et al. Helen Grace, Amy K.

Luc Vancheri

Presses Universitaires de Rennes, Lee Grieveson and Haidee Wasson. Oxford University Press, New York and Paris: Guggenheim Museum and Centre Georges Pompidou, Second revised edition, Cain and Dianne F. Modern Language Association, Peter Brunette and David Wills. Cambridge University Press, Psychoanalyse, Phantasie, und Narrationstheorie.

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Texte zu Psychoanalyse, Film, Kino. August Ruhs and Bernhard Riff. Beitrage zu einer semiologischen Geschichtswissenschaft. Essays on the Horror Film. Studies in Melodrama and the Woman's Film. British Film Institute, A Reader in Film and Television Melodrama.

Wayne State University Press, Raymond Bellour and Patrick Brion. Journal of Philosophy and the Moving Image 1 Fall Available online at http: Modernism and Epistemology in Post-'68 Film Theory," iris 1. A Journal of Cavellian Studies, to present. Uncredited translation with Dana Polan. Boundas and Dorothea Olkowski. Alain Silver and James Ursini. Harvard Gazette 10 February ; http: Co-sponsored by the Atlanta Film Festival. Seminar on the work of D. Moving Image, Central St. Martins, London, England, 30 November Moderator and discussant, Laurel Nakadate: Nietzsche and Deleuze's Cinematic Ethics.

The Moving Image and its World. Some remarks on medium-specificity arguments. Discussion available online at http: Film Archives in the Digital Era: Conceptual Personae and the Time-Image. You're Living In It!


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