Tag Archives: French New Wave
Borgesian library-Google Data Bank. (from here)
1. Each text is a construct: a reduction of thoughts’ pluripotentials into a well-arranged, grammatically sound signifying system. 2. To arrange a text is to intervene in thought itself. 3. Hence, the arrangement of the texts in a hypertextual environment is a political act: a will to power is involved. 4. In this day and age of informational catastrophe, the author is self-aware of this text’s complicity with the politics of the digital. 5. This act of hypertextual writing is preconditioned by another construct: an assumption that there exist an anonymous individual X who will read the excess ‘i’ in the text’s title and wonder if it is something that the author of the text intends to typogrify.
Anti-Auteur. I am currently developing a polemical piece that seeks to critically ‘deconstruct’ the tenets of auteurism tentatively entitled ‘Parricide to the Auteur’. The seed idea came from my reading of Jacques Derrida’s book Of Hospitality where I encountered the radical word ‘parricide’ (a passage of which will be provided in a separate text below). Derrida dispenses the radical potential of a Foreigner as parricidal speculum to the paternal logos. We commonly associate the logos to the rule of law, the central structuring force of all knowledge and discursive structures in the history of thought.
This parricide to the paternal logos is very much close to my developing polemic against the celebritification and mythologization of auteur in today’s film industry. In my developing study on Lav Diaz, I outwardly criticize the signifying logos of the auteur as all-encompassing concept to my philosophical investigation of the Diaz’s cinema’s relation to time.
In one of my papers submitted in Advance Film Theory and Criticism class (Film 270) (view here), I proposed a reconfiguration of the author-function as inherently complicit with the passage of time. In a way, I was trying to re-envision Diaz as a continuing process of constitution and deconstitution, an assemblage of significations and many other things beyond his body. That, in the cultural sphere, he no longer exists as One body, but as a continuous being-in-process , a becoming-in-transition. The massive circulation of texts within and outside the stratifying machine of culture, the free play between signifier and signified, and asubjective ruptures surrounding his work, all of which participate in the constitution and deconstitution of his ‘being’, transforming him into a ‘differential immanent object.’ To simply put it, ‘Lav Diaz’ no longer exists as purely as Diaz-in-himself but rather his body becomes reconstituted and mediatized by informational, cultural and socio-political fields.