March 08, 2004

ultra violence

I will be elaborating on this later this evening, when "free time" exists in practice, rather than theory:

Saw the Lee Bountecou retrospective this weekend, where many of the threads she is on about violence, war, the turning of the world into product, macho-death-fuck of Vietnam - is, to understate it, very immiediate and still-salient of a point. There was something really warm and non punishing about her work's take on all of it, that she clings to life through her works. Life beyond all the death.

Same night, watched Peckinpah's Straw Dogs knowing nothing of it previously. This movie is a different Life Beyond All The Death. I do not think I have been so angry at a movie, made so tense by a film to the point of nausea, to the point that I snapped at my boyf. for getting to close to me while watching it -- and then at the end say "Holy shit " eleven or thirty times and then "Thats the most important film, ever."

Both made me think of this is what Didion meant about that entire era, about how the center does not hold, the violence and tumult threatening to consume everyone. Both artists reaction, while there is a bit of polarity to them (not to quanitfy them, or exact them in some typical binary-gender male/female opposition) , Bountecou's soot-doused black holes are the same singed black holes in Peckinpah's fabric, the same unstopple ebb of violence.

Posted by Jessica at March 8, 2004 12:32 PM | TrackBack
Comments

Paul Verhoven seems to enjoy exploring similar themes in Robocop. Pasolini's "Salo" takes the cake, however.

Posted by: peterlaughner at March 8, 2004 01:47 PM

I recently discovered Bountecou work. How do you pronounce her name and where can I find more of it?

Posted by: Jorge at October 29, 2004 09:10 PM
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