By Lucy R. Lippard
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Extra resources for dematerialization of art
How, that is, might on-camera satiric portraiture reminiscent of the canvases of George Grosz, for instance, alongside shots evoking still-life photographic treatments of urban industrial Germany and its merchandizing displays in the interwar years—with their stringent geometries rejecting in every way the inward urgencies of expressionism—be seen as developing in M something, for want of a better 26 CHAPTER ONE term, more inframedial? This is to ask: without actual photographs on camera until the film’s climactic scene—where the serial child murderer, Beckert, is confronted with implausibly enlarged prints of his victims in the neutral photographic mode of studio portraits—how, building toward this, might the very different pictorial zeitgeist of the period find an impact in, rather than just on, Lang’s narrative?
It goes this way, in the earliest formulation of the theory. With obvious (even when occasionally unstated) shades of the Lacanian imaginary stage, the original screen trauma is the recognition of sight as mechanically directed. The task of subsequent cinematic narrative is to assuage this anxious notice in an almost surgical fashion—through a masked pastiche whose own functional invisibility as such, once acceded to, in turn sutures the viewer into the piecemeal shots of montage in order to anchor their credibility as world space.
But beyond that practical fallback, I’m hoping for something more—by way, if you will (and it certainly is in part up to you), of an enacted narratography of conceptual uptake. If I’m right, the most interesting of these films, at least in the most interesting of their images, have already translated some medial schema into narrative shot plan. Depicting shot or shot change in conceptual language, rather than just reproducing it in one or more stills, is a kind of reverse translation: a reading.