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4 July 2012

Джим Морисън

"The movie will begin in five moments," the mindless voice announced. All those unseated will await the next show. We filed slowly, languidly into the hall. The auditorium was vast and silent. As we seated and were darkened, the voice continued, "The program for this evening is not new. You've seen this entertainment through and through. You've seen your birth, your life and death. You might recall all the rest. Did you have a good world when you died? Enough to base a movie on?


The Lords
Look where we worship.

We all live in the city.

The city forms - often physically, but inevitably psychically - a circle. A Game. A ring of death with sex at its center. Drive towards outskirts of city suburbs. At the edge discover zones of sophisticated vice and boredom, child prostitution. But in the grimy ring immediately surrounding the daylight business district exists the only real crowd life of our mound, the only street life, night life. Diseased specimens in dollar hotels, low boarding houses, bars, pawn shops, burlesques and brothels, in dying arcades which never die, in streets and streets of all-night cinemas.

When play dies it becomes the Game.
When sex dies it becomes Climax.

All games contain the idea of death.

Camera, as all-seeing god, satisfies our longing for omniscience. To spy on others from this height and angle: pedestrians pass in and out of our lens like rare aquatic insects.

The sniper's rifle is an extension of his eye. He kills with injurious vision.

Everything is vague and dizzy. The skin swells and there is no more distinction between parts of the body. An encroaching sound of threatening, mocking, monotonous voices. This is fear and attraction of being swallowed.

The eye looks vulgar
Inside its ugly shell.
Come out in the open
In all of your Brilliance.

Nothing. The air outside
burns my eyes.
I'll pull them out
and get rid of the burning.

Destroy roofs, walls, see in all the rooms at once.

From the air we trapped gods, with the gods
omniscient gaze, but without their power to be
inside minds and cities as they fly above

More or less, we're all afflicted with the psychology of the voyeur. Not in a strictly clinical or criminal sense, but in our whole physical and emotional stance before the world. Whenever we seek to break this spell of passivity, our actions are cruel and awkward and generally obscene, like an invalid who has forgotten to walk.

Imagery is born of loss. Loss of the "friendly expanses". The breast is removed and the face imposes its cold, curious, forceful and inscrutable presence.

You may enjoy life from afar. You may look at things but not taste them. You may caress the mother only with the eyes.

Films are collections of dead pictures which are given artificial insemination.

Film spectators are quiet vampires.

Cinema is most totalitarian of the arts. All energy and sensation is sucked up into the skull, a cerebral erection, skull bloated with blood. Caligula wished a single neck for all his subjects that he could behead a kingdom with one blow. Cinema is this transforming agent. The body exists for the sake of the eyes; it becomes a dry stalk to support these two soft insatiable jewels.

Film confers a kind of spurious eternity.

Films have an illusion of timelessness fostered by their regular, indomitable appearance.

The appeal of cinema lies in the fear of death.

The modern East creates the greatest body of films. Cinema is a new form of an ancient tradition - the shadow play. Even their theater is an imitation of it. Born in India or China, the shadow show was aligned with religious ritual, linked with celebrations which centered around cremation of the dead.

It is wrong to assume, as some have done, that cinema belongs to women. Cinema is created by men for the consolation of men.

Male genitals are small faces
forming trinities of thieves
and Christs
Fathers, sons and ghosts.

A nose hangs over a wall
and two half eyes, sad eyes,
mute and handless, multiply
an endless round of victories.

These dry and secret triumphs, fought
in stalls and stamped in prisons,
glorify our walls
and scorch our vision.

A horror of empty spaces
propagates this seal on private places.

Phantasmagoria, magic lantern shows, spectacles without substance. They achieved complete sensory experiences though noise, incense, lightning, water. There may be a time when we'll attend Weather Theaters to recall the sensation of rain.

Cinema has evolved in two paths.

One is spectacle. Like the Phantasmagoria, its goal is the creation of a total substitute sensory world.

The other is peep show, which claims for its realm both the erotic and the untampered observance of real life,
and imitates the keyhole or voyeur's window without need of color, noise, grandeur.

Cinema discovers its fondest affinities not with painting, literature or theater, but with the popular diversions - comics, chess, French and Tarot decks, magazines, and tattooing.

Cinema derives not from painting, literature, sculpture, theater, but from ancient popular wizardry. It is the contemporary manifestation of an evolving history of shadows, a delight in pictures that move, a belief in magic. Its lineage is entwined from the earliest beginning with Priests and sorcery, a summoning of phantoms. With, at first, only slight aid of the mirror and fire, men called up dark and secret visits from regions in the buried mind. In these seances, shades are spirits which ward off evil.

The spectator is a dying animal.

Invoke, palliate, drive away the Dead. Nightly.

Through ventriloquism, gestures, play with objects, and all rare variations of the body in space, the shaman signaled his "trip" to an audience which shared the journey.

In the seance, the shaman led. A sensuous panic, deliberately evoked through drugs, chants, dancing, hurls the shaman into trance. Changed voice, convulsive movement. He acts like a madman. These professional hysterics, chosen precisely for their psychotic leaning, were once esteemed. They mediated between man and spirit-world. Their mental travels formed the crux of the religious life of the tribe.

It is wrong to assume that art needs the spectator in order to be. The film runs on without any eyes. The spectator cannot exist without it. It insures his existence.

The "stranger" was sensed as greatest menace in ancient communities.

Metamorphose. An object is cut off from its name, habits, associations. Detached, it becomes only the thing, in and of itself. When this disintegration into pure existence is at last achieved, the object is free to become endlessly anything.

Objects as they exist in time the clean eye and camera give us. Not falsified by "seeing".

In his retort the alchemist repeats the work of Nature.

Cinema returns us to anima, religion of matter, which gives each thing its special divinity and sees gods in all things and beings.

Cinema, heir of alchemy, last of an erotic science.

The Lords appease us with images. They give us books, concerts, galleries, shows, cinemas. Especially the cinemas. Though art they confuse us and blind us to our enslavement. Art adorns our prison walls, keeps us silent and diverted and indifferent.