I may not be a great actress but I've become the greatest at screen orgasms. Ten seconds of heavy breathing, roll your head from s...ide to side, simulate a slight asthma attack and die a little.LESSATTRIBUTION DETAIL »
There is no one kind of thing that we 'perceive' but many different kinds, the number being reducible if at all by scientific inve...stigation and not by philosophy: pens are in many ways though not in all ways unlike rainbows, which are in many ways though not in all ways unlike after-images, which in turn are in many ways but not in all ways unlike pictures on the cinema-screen--and so on.LESSATTRIBUTION DETAIL »
Analogies between the stage and the screen assume that they deal with the same material. But they don't. The material of the scree...n is not actual objects but images fixed on the film. And the very fact that they have their being on film endows these images with properties which are never found in actual objects. For instance, on the stage the actor moves in real space and time. He cannot even cross the room without performing a definite number of movements. On the screen an action may be shown only in terminal points with all its intervening moments left out. Similarly, in watching a performance on the stage the spectator is governed by the actual conditions of space and time. Not so in the case of the movie spectator. Thanks to the moving camera he is able to view the scene from all kinds of angles, leaping from a long-distance view to a close-range inspection of every detail. It is obvious that with this extraordinary power of handling space and time--by elimination and emphasis, according to its dramatic needs--the motion picture can never be content with modeling itself after the stage.LESSATTRIBUTION DETAIL »
We live in a world ruled by fictions of every kind--mass merchandising, advertising, politics conducted as a branch of advertising..., the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.LESSATTRIBUTION DETAIL »
I believe that organic sex, body against body, skin area against skin area, is becoming no longer possible, simply because if anyt...hing is to have any meaning for us it must take place in terms of the values and experiences of the media landscape.... What we're getting is a whole new order of sexual fantasies, involving a different order of experiences, like car crashes, like travelling in jet aircraft, the whole overlay of new technologies, architecture, interior design, communications, transport, merchandising. These things are beginning to reach into our lives and change the interior design of our sexual fantasies. We've got to recognize that what one sees through the window of the TV screen is as important as what one sees through a window on the street.LESSATTRIBUTION DETAIL »
Laughter on American television has taken the place of the chorus in Greek tragedy.... In other countries, the business of laughin...g is left to the viewers. Here, their laughter is put on the screen, integrated into the show. It is the screen that is laughing and having a good time. You are simply left alone with your consternation.LESSATTRIBUTION DETAIL »
The futility of everything that comes to us from the media is the inescapable consequence of the absolute inability of that partic...ular stage to remain silent. Music, commercial breaks, news flashes, adverts, news broadcasts, movies, presenters--there is no alternative but to fill the screen; otherwise there would be an irremediable void.... That's why the slightest technical hitch, the slightest slip on the part of the presenter becomes so exciting, for it reveals the depth of the emptiness squinting out at us through this little window.LESSATTRIBUTION DETAIL »
One should speak of television's cold light, and why it is inoffensive to the imagination (including the imagination of children).... It is innocuous because it no longer conveys an imaginary, for the simple reason that it is no longer an image. Here it contrasts with the cinema which (though increasingly contaminated by television) is still endowed with an intense imaginary--because it is an image. This is not simply to speak of film as a mere screen or visual form, but as a myth, something that still resembles a double, a mirror, a fantasy, a dream, etc. None of this is in the TV image. It doesn't suggest anything, it mesmerizes.... It is only a screen or, better, it is a miniaturized terminal that immediately appears in your head (you are the screen and the television is watching you), transistorizes all your neurons and passes for a magnetic tape--a tape, not an image.LESSATTRIBUTION DETAIL »
The artistic performance of a stage actor is definitely presented to the public by the actor in person; that of the screen actor, ...however, is presented by a camera, with a twofold consequence. The camera that presents the performance of the film actor to the public need not respect the performance as an integral whole. Guided by the cameraman, the camera continually changes its position with respect to the performance. The sequence of positional views which the editor composes from the material supplied him constitutes the completed film. It comprises certain factors of movement which are in reality those of the camera, not to mention special camera angles, close-ups, etc.... Also, the film actor lacks the opportunity of the stage actor to adjust to the audience during his performance, since he does not present his performance to the audience in person. This permits the audience to take the position of a critic, without experiencing any personal contact with the actor. The audience's identification with the actor is really an identification with the camera.LESSATTRIBUTION DETAIL »