Moby Dick
71
It is Herman Melville who, in his novels , fixed this structure for all time. seed impregnating the sea, the ship is caught between its two crystalline faces: a limpid face which is the ship from above, where everything should be visible, according to order; an opaque face which is the ship from below, and which occurs underwater, the black face of the engine-room stokers. But it is as if the lipid face actualizes a kind of theatre or dramaturgy which takes hold of the passengers themselves, whilst the virtual passes into the opaque face, and is actualized in turn in the settling of scores between engineers, in the demonic perversity of a boatswain, in a a captain's obsession, in the secret revenge of insurgent blacks. This is the circuit of two virtual images which continually become actual in relation to each other, and are continually revived. It is not so much Huston's Moby Dick which gives the cinematographic version of the ship, but rather Welles'The Lady from /Shanghai, in which the majority fo the fomrs of the crystal-image are undoubtedly to be found: the yacht called 'The Circe' reveals a visible face and an invisible face, a limpid face that for a moment the naive hero allows himself to be caugt by, while the other face, the opaque one, the great dark stage of the aquarium of monsters, rises in silence and grows as the first one becomes vague or blurred.
good ship
27
[Deleuze does not refer to anything in this movie, but here are some scenes, which might illustrate vaguely the notion of the limpid and opaque sides of the ship.]
dark
29.40 ahab room
48.00 behind mask, before dancing, maybe light dark
5100 nest light?
1 00 00 talk below about not mutiny probem
1.0500 sun
1.29.00 electrical charge, maybe dark side
Huston. Moby Dick 1.wmv
Huston. Moby Dick. 2.wmv
Huston. Moby Dick. 3.wmv
No comments:
Post a Comment