film theory questions – for tfr

by metalogike

May 24

  • 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.)

June 3

Suppose one said, “Whatever else the long take is about, it’s always also about the spirituality of work.”

June 10

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?