the most crazy thing is how total and how final the change of state from alive to dead is, when it happens. however you think you are expecting it, it is always a surprise.
Lunar eclipse with a blood moon tonight…
I remember this song and video came out at the end of my Standard 4 year – the first year I had ever been to a proper teenage “disco” (how scary and thrilling). I remember thinking her thrashing around for the whole song in that bunched-up sheet was silly… And that she was in love with that poncy Amadeus guy was silly too. Lunatics. And yet the chorus would be going round and round in my head for months, entwined with an interminable summer holiday yearning for I-didn’t-quite-know-what. This and the Bangles’ Eternal Flame.
On July 18, the Film and Publication Board’s refusal to classify the would-be opening film of the Durban International Film Festival, Jahmil XT Qubeka’s Of Good Report, became the flint that sparked the latest South African aesthetic controversy.
Unclassified films are illegal to screen, which means that this is a functional ban on the production. The ruling was imposed on the basis of having interpreted the representation of a sexual encounter of a Grade 9 pupil, Nolitha, (played by the 23-year old actress Petronella Tshuma) as being child pornography.
Tongues have been wagging in creative circles and the media, and given that the film is divorced from any overt perspective on political matters (as in the case ofThe Spear), it is clear that this matter relates to some quite primal conflict over the interpretation of a particular image.
In this case, the battle over meaning is taking place in the awkward, sexually liminal space of the moment of the young female character’s transition from archetypal “virgin” to archetypal “whore”, and what she, the figure of the girl, means.
It probably wouldn’t be completely unfair to assume that the film is objectionable to the classification board because of this very liminality, and the way in which the morality embedded in the process clearly regards anything that isn’t exclusively either “virgin” or “whore” as a kind of abomination.
This act of censorship is fundamentally based on a conflict of representation – meaning it’s as much an aesthetic one as it is an ideological one. This means that we need to be asking not the obvious and common question of whether we should or shouldn’t be allowed to depict female children in an erotic light, but rather what actually is a female child, and what is an erotic light?
South African film and South African audiences remain equally conservative. The idea that representations of people, places, things and events can have a lot of different meanings and aren’t consistently, singularly defined is, surprisingly, not taken for granted by the typical South African viewer, practitioner or institution of film.
We aren’t yet comfortable with the multifarious nature of representation, and expend a lot of hot air trying to settle on the one, all-encompassing, so-called “South African voice”, which it turns out, we’re really struggling to locate.
It’s a self-evidently flawed project, because its ridiculous to think that such a thing could ever actually exist in a finite sense.
Read the rest of this article HERE.
[E]ffective differences pass between the lines, even though they are all immanent to one another, all entangled in one another. This is why the question of schizoanalysis or pragmatics, micropolitics itself, never consists in interpreting, but merely in asking what are your lines, individual or group, and what are the dangers on each.
What are your rigid segments, your binary and overcoding machines? For even these are not given to you ready-made; we are not simply divided up by binary machines of class, sex, or age: there are others which we constantly shift, invent without realising it. And what are the dangers if we blow up these segments too quickly? Wouldn’t this kill the organism itself, the organism which possesses its own binary machines, even in its nerves and its brain?
What are your supple lines, what are your fluxes and thresholds? Which is your set of relative deterritorialisations and correlative reterritorialisations? And the distribution of black holes: which are the black holes of each one of us, where a beast lurks or a microfascism thrives?
— Deleuze and Guattari: Toward Freedom. Read more HERE.
Sent from my BlackBerry® wireless device
The edges of our love are in the stars
And on the balcony
She waits for me
Out on the boundary
Make this alive
Good days are back
Open your eyes when it falls
Come back to the air
I can’t tell you what you already know
I can’t make you feel what you already feel
I can’t show you what’s in front of you
I can’t heal those scars
Bill Henson (born 1955) is an Australian contemporary art photographer.
Henson’s photographs reflect an interest in ambiguity and transition. The use of chiaroscuro is common throughout his works. His photographs are painterly and often presented as diptychs, triptychs and other groupings.
Henson’s works often meditate on the categories of and relationships between male and female; youth and adulthood; day and night; light and dark; nature and civilisation. His images often use flattened perspective and tend towards abstraction. The faces of the subjects are often blurred or partly shadowed and do not directly face the viewer.
According to Crawford, Henson presents “adolescents in their states of despair, intoxication and immature ribaldry”. He has said that these “moments of transition and metamorphosis are important in everyone’s lives”.
Information taken from HERE.
Check out more of Henson’s work HERE.