Cinema: Too Many Conductors and Not Enough Composers

Peter Greenaway on the condition of cinema today, ‘Cinema is Dead, Long Live Cinema.’

Can it be said that the cinema Peter Greenaway yearns for and heralds is well on its way only it’s not being practiced by filmmakers but visual artists. Here is a passage from Filipa Ramos’s review of ‘The Cloud and the Host’ Pierre Huyghe’s show at Marian Goodman, Paris.

‘The work’s incommunicableness is its strongest feature: it attests that thought is structured around visions and images, which crumble apart when turned into discourse because, on one hand, they do not obey any conventional logic of narrative, and, on the other, they explode simultaneously in so many levels that words automatically submit them to a spatial-temporal hierarchy that corrupts the whole ensemble. Here, the feeling of the critic is similar to that of trying to describe a dream, or even better, a very intense psychedelic experience, such as an acid trip. The only possible way to do so is to continuously jump from one realm to another, trying to ignore any time or sequential logics.’

To this point of sequential logic Greenaway rightfully argues that most all cinema practitioners follow the logic of the word. (I have posted about this in, ‘Thinking in Images’) They are conductors who illustrate words. Whose sense is the word. Whose words are managed by accountants. How to write directly in images or simply to follow the sense of images, not images as in stunning cinematography, but images as sense impressions and a logic or feel of this sense image to image, scene to scene, creating a plane and simultaneity of sense.