Tressell, Ellison, Pynchon: Emulsion & Petrifying Liquids or Painting the Roses Red
alice wellintown
alicewellintown at gmail.com
Thu Jul 25 10:09:57 CDT 2013
And VL too. Where TV and film merge, where the labor of film is
dismembered, not by Ray-gun, or Brock, but by the members. Even family
turns on family, protest turns on protest, movement against sit ins and
stops, adopters of new Techic against traditional workers, generation
against generation, children against parents and grandparents against
parents of grandchildren....and the light makes the load too heavy....he's
my brother...one way or another this darkness ....
The paint dries faster, whiter, brighter, purer....
On Thursday, July 25, 2013, Mark Kohut wrote:
>
> Every reader of either knows a film. (Even Paul Schrader,
> scriptwriter, started seeing them in his late teens. ) Annotations help with
> all specific allusions but the concept of a film, as the concept of
> theater, matters in 'getting' essential themes of GR.
>
> And AtD, where TRP's perspective on photography is also embedded.
>
>
> So, if the young scholar has got it right and not knowing film prevents a
> reader of GR from an appreciation of the masterpiece,
> should one simply forgo reading it and read
> AGTD?
> AGTD, were it annotated, would need quite few entries on photography and
> technic, and image making, moving and fixed,
> but the encyclopedia of movie making, so essential to GR, is not,
> obviously, so essential to the later and greater masterpiece.
> That is, at first,
> we may not appreciate how so much painting and flm and photography, the
> technic, the chemistry, is essential to both.
>
> And, since P writes about labor. His work on painting, photography, and
> film are all reeled into his labor themes.
>
>
>
>
>
>
>
> http://www.academia.edu/2038506/Still_Moving_Against_the_Day_Pynchons_Graphic_Impulse
>
>
>
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