Sublime

The subtitles, which make the most muffled speeches comprehensible, are an interference, though the raggedness of the sound makes Pialat's point: this isn't rhetorical dialogue, addressed to the audience to make dramatic and character points, but speech considered as a sound effect, part of the natural content of the image.

the film’s cast could not come along. So Boggs intended to hire local talent to play the characters originated by actors in Chicago. Motion pictures were still such a new and makeshift medium that audiences, he figured, would never notice the difference.

I think there's this weird thing at work now with the way people relate to, specifically, mainstream cinema. When they watch those movies, they like to be on the receiving end . . . and the sound is so loud, and the images are so powerful, they want to be totally passive. But then, a few months later, the salve film is on DVD, and they can watch it

contemporary accounts of proximity and distance, particularly those from post-1968 ideological critics, treat them as if spectator “positions” were effects of the textual

Ingrid Sischy was made editor. Her Artforum explored the relationship between high and popular culture, deepened the magazine’s reporting of the local East Village and SoHo art scenes, and broadened its coverage of European art, particularly German postmodern painting.