By Daniel O'Connor
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Extra info for Mediated Associations: Cinematic Dimensions of Social Theory
These cinematic structures are abstracted from their place, from their everydayness and everyday association, and therefore forfeit their social identities. On the other hand, when these structures are stitched into cinematic assemblages they can also produce changes of dimension and form new images of the whole. Understood as abstract elements in new assemblages, these temporally articulated structures open up dimensions of space that are qualitative and absolute. I say this because our experience of space is conditioned not only by what is in it or by what we see.
These movements are potentially contagious. The face occupies the space between the poles of received and executed movements. This space is like a threshold between moving and being moved or an interval between that which is reflecting and that which is reflected. The close-up is typically inserted in cinematic assemblages to stake out such thresholds, points of change, turning points, or critical instants. But by itself, it is indeterminate or unfinalizable, as Bakhtin might say (1981). It expresses a non-discursive potency that can be controlled only by strategies that suture it to its surroundings or link it to given states of affairs.
This perspective misses is an analysis of the structures and processes that form on the margins, that shape the mixtures that form in these sites, and that produce dissymmetrical flows and unequal exchanges. Firmly bounded systems and system boundaries - often considered as rigid territorial frames in need of constant protection and maintenance - are being revisited and reconceptualized. They are understood variously as permeable or osmotic membranes, marginal sites and liminal spaces, intervals of movement and change, places of passage, interfaces between moments of closure, and surfaces where the inside and outside meet.
Mediated Associations: Cinematic Dimensions of Social Theory by Daniel O'Connor