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On the brink, one-foot ledge length teetered the nebbish low-time mongrel, the debtor
trying to squirm off and out of this life, american+algerian+Moroccan+frenchist one-timer, the two-bit
when has took notice of the fifty-foot women clutching the same railing of the same canal-bridge with the same bad intention, teetering heeled just a ways down.
this leggy ledgy broad met the depreciation/disparation of the disparate imbroglio sloppily called andre.
She, we later learn, has the look of "sexy bitch", black mascaraed tears masquerade the steep of her face, the doll leaked into the wide-mouthed drink.
mademoiselle...
he calls to her
...what are you doing?
'the same as you'
she dreamily rejoins.
she lets in
and jumps the shady bridge-passage
he jumps it too, surviving through her his own risky bottomed life
she floated in black paper dress, her brittle hair sifted like a broom head in the murk
the waters as depressive as the french city it was left in and now this shiftless bunch of forfeiters cashing in early on a shoddy non-fatal proof-less top point
the over-pass hardly a step across, hardly a step down
the lunt and the model plunge in to the drink, into the sip
she suicide-dives into the puddle like a horse jumping the high-riser into a water-glass
and he trying to commit it/himself to suicide, commits instead to the likes of the blonde,
the above-ground purges him (necessarily) into the canal
no..mademoiselle-- trailing, ekes and wallowing terribly
breaching.
tugging her to the shore
he wades with her to the lot and abutment
she is there saving him by him saving her
and so the effect effectuates in its cause
the analyst and analysand meet on the brink, unwittingly pronouncing meaning-life, so the other won't jump or otherwise leave their faculties.
whether andre was referred/coerced to the brink by the horrors of condition, the analyst meets and risks analysis--
the 'suicidality' of subjective destitution
first: the need and the need to be needed
(demand-->desire)
then: to desire and to desire to be desired (*Le desir de l'homme c'est le desir de l'Autre)
im all you she says to him when they commit
i do whatever you want me to do she says
he say kiss me and now the patient, the debtor, the analysand takes the angel as his analyst:
treatment begins...
the film starts:
linking identifications along and qualifying them
--
he states apologetically: "i'm a good guy"...Lover/friend etc. etc.
then
'i lie to myself' with a slap
the goons of one of his benefactors rap his face-side and the reel reels with movie
he shrinks from the shirk brought to bear by boss brats enforcing reality as is meant...
he owes
he owes many many things and papers
frank, the serious mug, ran paris crime and strung him up also
dangling him off the eifel tower
monsieur frank..
he, as hanger-on, to the little life in finding room at debt
threaten by frank- or the Truth!-andre tried leaving environs for the Great States as he won the Green-Card Lottery and claims residence of a figurative Manhattan Penthouse.
he tries to slink out of debt by appealing to the sanctuary of the American Embassy
to no avail
he tries the Police -or Policing himself- he looks for cell-vacancy at the local precinct
he's shown out face-first
then, after all, he seeks the higher-up stoop from which to descend
he loudly supposes no one cares if he lives, in red he is means alone, a walking tab
"no one give a shit? huh."
so he uncertainly finds a block, a room in which to push off
in this room he consults all-parts seemingly fated-to him
stolid to the likes of his own participation even solicitation
he makes of the plank
he resigns-
falters-
he thinks to reschedule
suddenly thunderstruck by the willingness that someone joins him uncertainly
there the blonde shell meets his gaze
his first words to her were frantically; what are you doing? (here?)
almost as if to respond-return to the first of all fathom-- what are you doing here? the analyst begins the beginning
he can't fathom her so he settles to imagine her (the work of transference)
she, irradiating as though the impertinent glint of light off mirrors of mirrors,
she dustily is reflection of reflection
what are you doing?
same as you
-she says coaxing him to the water's bed
she tricks him into believing he is there for her
she is his impetus
w/o this damage or attempt rousing him to meet her in the incertitude of the process
analysis would die death, analysis would in-exist (to put it rhetorically)
to instate trauma or the thought or the encounter
risks the risk
(Ultimately decompensation)
to rearrange satisfactions... mortifying
disorder the disorder
traverse phatasy
displace the displacement
then and so to tarry subjectification or 'personal responsibility'
for the analyst or some Other to assume the mistake
to stand-in as cause-for-analysis is the constitutive gesture or gesticulations (totally)
i'm here for you--
ambiguous*
i'm here because of you-
i'm here for you dutifully-
the analysand then is made to cope w/ the Other's unfortunate desire (content of desire/ as desirousness)
the other's desire machinates silently, ephemeral as winds, vacuous
whereby the suitor (andre) torments
trying to make whim into principle, into prediction
the other desires inscrutably
"what are you doing?"
"same as you."
confronting the other's desire is to confront ones own desire.
after andre fishes angela out of the canal.
they talk preliminarily
why'd you do that?
he says to her
listing her beauty and attributes as deserved of value, treasure
looking model
exemplum
why should you be so damaged as to join me on the brink and coax me into the break
why'd you?
she interrupts (positioning)
i feel stupid, ugly, utterly useless.
he reveals
i'm yours
she tells him
your the cause
i dedicate to you
and so the couple
End: part-one
next time: angel+andre see frank, see the Truth about his debt (confronting castration)
trying to squirm off and out of this life, american+algerian+Moroccan+frenchist one-timer, the two-bit
when has took notice of the fifty-foot women clutching the same railing of the same canal-bridge with the same bad intention, teetering heeled just a ways down.
this leggy ledgy broad met the depreciation/disparation of the disparate imbroglio sloppily called andre.
She, we later learn, has the look of "sexy bitch", black mascaraed tears masquerade the steep of her face, the doll leaked into the wide-mouthed drink.
mademoiselle...
he calls to her
...what are you doing?
'the same as you'
she dreamily rejoins.
she lets in
and jumps the shady bridge-passage
he jumps it too, surviving through her his own risky bottomed life
she floated in black paper dress, her brittle hair sifted like a broom head in the murk
the waters as depressive as the french city it was left in and now this shiftless bunch of forfeiters cashing in early on a shoddy non-fatal proof-less top point
the over-pass hardly a step across, hardly a step down
the lunt and the model plunge in to the drink, into the sip
she suicide-dives into the puddle like a horse jumping the high-riser into a water-glass
and he trying to commit it/himself to suicide, commits instead to the likes of the blonde,
the above-ground purges him (necessarily) into the canal
no..mademoiselle-- trailing, ekes and wallowing terribly
breaching.
tugging her to the shore
he wades with her to the lot and abutment
she is there saving him by him saving her
and so the effect effectuates in its cause
the analyst and analysand meet on the brink, unwittingly pronouncing meaning-life, so the other won't jump or otherwise leave their faculties.
whether andre was referred/coerced to the brink by the horrors of condition, the analyst meets and risks analysis--
the 'suicidality' of subjective destitution
first: the need and the need to be needed
(demand-->desire)
then: to desire and to desire to be desired (*Le desir de l'homme c'est le desir de l'Autre)
im all you she says to him when they commit
i do whatever you want me to do she says
he say kiss me and now the patient, the debtor, the analysand takes the angel as his analyst:
treatment begins...
the film starts:
linking identifications along and qualifying them
--
he states apologetically: "i'm a good guy"...Lover/friend etc. etc.
then
'i lie to myself' with a slap
the goons of one of his benefactors rap his face-side and the reel reels with movie
he shrinks from the shirk brought to bear by boss brats enforcing reality as is meant...
he owes
he owes many many things and papers
frank, the serious mug, ran paris crime and strung him up also
dangling him off the eifel tower
monsieur frank..
he, as hanger-on, to the little life in finding room at debt
threaten by frank- or the Truth!-andre tried leaving environs for the Great States as he won the Green-Card Lottery and claims residence of a figurative Manhattan Penthouse.
he tries to slink out of debt by appealing to the sanctuary of the American Embassy
to no avail
he tries the Police -or Policing himself- he looks for cell-vacancy at the local precinct
he's shown out face-first
then, after all, he seeks the higher-up stoop from which to descend
he loudly supposes no one cares if he lives, in red he is means alone, a walking tab
"no one give a shit? huh."
so he uncertainly finds a block, a room in which to push off
in this room he consults all-parts seemingly fated-to him
stolid to the likes of his own participation even solicitation
he makes of the plank
he resigns-
falters-
he thinks to reschedule
suddenly thunderstruck by the willingness that someone joins him uncertainly
there the blonde shell meets his gaze
his first words to her were frantically; what are you doing? (here?)
almost as if to respond-return to the first of all fathom-- what are you doing here? the analyst begins the beginning
he can't fathom her so he settles to imagine her (the work of transference)
she, irradiating as though the impertinent glint of light off mirrors of mirrors,
she dustily is reflection of reflection
what are you doing?
same as you
-she says coaxing him to the water's bed
she tricks him into believing he is there for her
she is his impetus
w/o this damage or attempt rousing him to meet her in the incertitude of the process
analysis would die death, analysis would in-exist (to put it rhetorically)
to instate trauma or the thought or the encounter
risks the risk
(Ultimately decompensation)
to rearrange satisfactions... mortifying
disorder the disorder
traverse phatasy
displace the displacement
then and so to tarry subjectification or 'personal responsibility'
for the analyst or some Other to assume the mistake
to stand-in as cause-for-analysis is the constitutive gesture or gesticulations (totally)
i'm here for you--
ambiguous*
i'm here because of you-
i'm here for you dutifully-
the analysand then is made to cope w/ the Other's unfortunate desire (content of desire/ as desirousness)
the other's desire machinates silently, ephemeral as winds, vacuous
whereby the suitor (andre) torments
trying to make whim into principle, into prediction
the other desires inscrutably
"what are you doing?"
"same as you."
confronting the other's desire is to confront ones own desire.
after andre fishes angela out of the canal.
they talk preliminarily
why'd you do that?
he says to her
listing her beauty and attributes as deserved of value, treasure
looking model
exemplum
why should you be so damaged as to join me on the brink and coax me into the break
why'd you?
she interrupts (positioning)
i feel stupid, ugly, utterly useless.
he reveals
i'm yours
she tells him
your the cause
i dedicate to you
and so the couple
End: part-one
next time: angel+andre see frank, see the Truth about his debt (confronting castration)
No replies - reply
This is not a review.
**************************
****************
*********
In this the dark knight meets its public
or rather, the public (pops) confronts its spectral vigilante, its Spiritus-Americanus, technology's omniscience
masked, obfuscated
dreamily watching, threatening its intervention in to the privates in their individual-secular abuses.
However is this not Big brOther transmuted?
not only is it striking, his darkly Gotham P.D. affiliations (w/ its partly-assumed crookedness)
Also flabbergasting: the implicit governmental ties, funding/research military-industrial-blah
(Bruce wayne from Robert Bruce or Robert the Bruce or Robert I King of Scots... Warrior-King! monarch-monolith/Big Other-Big Brother etc. etc./ + "mad anthony wayne"- pat)
notice warrant-less wire-tapping/ revelatory sonar devices etc.
use the people (here as the cellular phone) to surveil themselves
the street corner sounding-off
each speckle of social substance turned satellite
and watchman
casting-broad
the walled rabble toning-folk, jittery and locally loud...
technology's again telling secrets out of school.
it's for Our benefit...(for National Security it is...)
this is the unfortunate acting-out of the Patriot act
moneyed-men shadowing the bile, twisting silently darkly deciding as deciders do our safety therewith our freedom
another interesting feature of this permutation of bat-man: the lighted-title shows batman as the "Dark Knight" on high
what accounts for the conspicuous decision to change the likes of the film series never straying from the franchise insignia
-Batman no, Batman?
Batman's forever and begins and robin and alone Batman
why and for what distance?
Man-bat to Dark Knight
Black knight imbroglio
the lore after it is one boundless and unruly
the standards figuratively blackened
to blacken- in the black
the economic capitalistic imperative to make-off ceaselessly grand
black lungs and ashen dollars
before going any further, notice too;
Dent and Wayne juxtaposition: who succeeds whom
and finally Dent- "i am batman!"
Dent- District attorney or the Law embodied
Wayne- Batman: the Law's obscene underside
near film's end: Batman's gesture to elevate the underside to a showy public prominence like the founding of a new bank/state
constitutive*
this gesture was renounced and utilized (by joker) in the becoming-evil of District Attorney of Harvey Dent
and now to the Joker whose desperately depicted as anarchic and irredeemable...
However,
are we to except the 'intended' interpretation of the Joker?
No.
it is 'actually' to the contrary,
the way we should 'understand' the Joker is as The Agent of the old Order
see hs.- yellowed teeth, make-up cover-all, facial surgeries/ body-mods
instead of Joker as the chaotic, as the (structural-) lapse
Joker ("the joke") indemnifies the past by installing Dent, "Two-face" in his stead
maintaining Batman as Batman, cloaked, under-sided
Law as law, bad as bad, good etc.
maintaining the Order is Jokers whole import!
this wearily concludes the first of the series.
next on Series DK: post-modern squirrelly characters and development*
**************************
****************
*********
In this the dark knight meets its public
or rather, the public (pops) confronts its spectral vigilante, its Spiritus-Americanus, technology's omniscience
masked, obfuscated
dreamily watching, threatening its intervention in to the privates in their individual-secular abuses.
However is this not Big brOther transmuted?
not only is it striking, his darkly Gotham P.D. affiliations (w/ its partly-assumed crookedness)
Also flabbergasting: the implicit governmental ties, funding/research military-industrial-blah
(Bruce wayne from Robert Bruce or Robert the Bruce or Robert I King of Scots... Warrior-King! monarch-monolith/Big Other-Big Brother etc. etc./ + "mad anthony wayne"- pat)
notice warrant-less wire-tapping/ revelatory sonar devices etc.
use the people (here as the cellular phone) to surveil themselves
the street corner sounding-off
each speckle of social substance turned satellite
and watchman
casting-broad
the walled rabble toning-folk, jittery and locally loud...
technology's again telling secrets out of school.
it's for Our benefit...(for National Security it is...)
this is the unfortunate acting-out of the Patriot act
moneyed-men shadowing the bile, twisting silently darkly deciding as deciders do our safety therewith our freedom
another interesting feature of this permutation of bat-man: the lighted-title shows batman as the "Dark Knight" on high
what accounts for the conspicuous decision to change the likes of the film series never straying from the franchise insignia
-Batman no, Batman?
Batman's forever and begins and robin and alone Batman
why and for what distance?
Man-bat to Dark Knight
Black knight imbroglio
the lore after it is one boundless and unruly
the standards figuratively blackened
to blacken- in the black
the economic capitalistic imperative to make-off ceaselessly grand
black lungs and ashen dollars
before going any further, notice too;
Dent and Wayne juxtaposition: who succeeds whom
and finally Dent- "i am batman!"
Dent- District attorney or the Law embodied
Wayne- Batman: the Law's obscene underside
near film's end: Batman's gesture to elevate the underside to a showy public prominence like the founding of a new bank/state
constitutive*
this gesture was renounced and utilized (by joker) in the becoming-evil of District Attorney of Harvey Dent
and now to the Joker whose desperately depicted as anarchic and irredeemable...
However,
are we to except the 'intended' interpretation of the Joker?
No.
it is 'actually' to the contrary,
the way we should 'understand' the Joker is as The Agent of the old Order
see hs.- yellowed teeth, make-up cover-all, facial surgeries/ body-mods
instead of Joker as the chaotic, as the (structural-) lapse
Joker ("the joke") indemnifies the past by installing Dent, "Two-face" in his stead
maintaining Batman as Batman, cloaked, under-sided
Law as law, bad as bad, good etc.
maintaining the Order is Jokers whole import!
this wearily concludes the first of the series.
next on Series DK: post-modern squirrelly characters and development*
No replies - reply
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