Eventually, she is able to read no more and gives in to sighs, groans, or silent, eye-closing paroxysms. ![]() While reading, the subject generally begins to stumble, the speeding of reading slowing down or speeding up, changes in pitch and emphasis growing more pronounced. She announces her name and the title of the book before beginning to read. We see a black and white frame with a clothed woman seated at a table, visible from the sternum up, holding a book of her choosing. In doing so he troubles the dichotomies raised by the project, dichotomies between masculine visual pleasure and feminine aurality, between language and bliss.Įach video in filmmaker and photographer Clayton Cubitt’s Hysterical Literature series (2012-) – which consists of 11 “sessions” so far – appears deceptively simple. Today, Gordon Sullivan, considers the video art series Hysterical Literature in relation to a long history of women’s vocalizations serving as aural fetishes for the pleasure of male listeners. In upcoming weeks Veronica Fitzpatrick will explore how the soundtrack of The Texas Chainsaw Massacre can be considered hysterical in its rejection of language and meaning and John Corbett, Terri Kapsalis and Danny Thompson share an excerpt from their performance of The Hysterical Alphabet. ![]() Last week I discussed silence and hysteria in relation to Sam Taylor-Johnson’s silent film Hysteria, suggesting that the hysteric’s vocalizations go unheard because we have tuned them out. Welcome to our second installment of Hysterical Sound.
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