By Aimé Cesaire
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14-15 Copyrighted Material o nTh eAr t 0 f Vi S ; 0 n 33 ** * What difference does it make what the film has been? Who am I to speak of this question? Of it? What do I know? What is the film now? I speak of one film. * * * Brakhage's film IS not free of story in the literary sense. Brakhage paraphrases his film too easily. If the film is not free of story, why do I say it is? , in this context, preexistent temporal intent. But The Art of Vision is not Dog Star Man. ** * The word art has lost its balls.
One's view of history, of history's claims upon one are thereby altered. To think and write on cinema has largely been to propose hypotheses, protocols, and fictions to the world at large, and to propose them with a levity wholly unthinkable in any other area of inquiry-a levity that has guaranteed their incomparably rapid and steady supercession. It is, however, the speed and dynamism of cinema's development which has steadily confounded the noblest Copyrighted Material 38 Ann e tt e M i c h e Iso n attempts to constitute, the most prudent efforts to reflect upon, its ontology.
One such attempt, and remarkably successful, was Interim itself, which he filmed as a simple erotic episode in pantomime: The only accompaniment to the young lovers' accidental meeting and ephemeral contact is the music score by James Tenney, which is excellent and paced well with the idyllic action. There is nothing sensational, technical or otherwise, about Interim. It is specifically, deliberately, an "episode"-like life for one who was then (in 1951) only eighteen. " True, tact itself is not among the most decisive Experimental factors, for it is also conspicuous in the best French commercial films and in a film such as Dreyer's Day of Wrath.