film theory questions – for tfr
- The long take: limit of the contraction mapping at infinity = 1; nullity of compression
- Mise en abyme: limit of the contraction mapping at infinity = 0; compression to nullity
Are these dual artistic figures of subjectivity? Can their relation be systematically explicated? Do they refer to each other across a field of representation, as diagonalization, on one reading, would suggest?* In particular, should the familiar and somewhat tired phenomenology and aesthetics of mise en abyme always be referred to this (most?) distant partner?
(It’s always a matter of the placement of a fixed point relative to a line, the consequences of which are not limited to the marked side.)
Suppose one said, “Whatever else the long take is about, it’s always also about the spirituality of work.”
If mise en abyme is the short-circuiting of the icon in its characteristic gesture of grasping and compressing by the index, is the long take the reverse?