Lisa, I contend that your curt critique of Kittens Inspired By Kittens is without merit. In my estimation, the film is an aesthetically compelling exemplar of a postmodern metaconceptual allusory signifier internment, however temporary and partitioned. The tri-planar yet entirely internal references to the kitten as objectified wild beauty cum domesticated pussy cum textually encased symbol of itself as decentered image of '"The Cat'" in the visual domain is subjected in the oral/aural zone to an artistic replication of Lacanian mirror dissension. The result is a deconstructed synthesis of the two main lines in Eliot, these most directly evident in "Old Possum's Book of Practical Cats" and The Hollow Men," albeit without the high modernist versification (obviously) or the notorious anti-Semitism. This is a powerful opening statement from such a young film-maker, from whom we should expect exciting work in the future. If she can do for canines what she has already achieved for felines, I am confident that she will corner the market in household cinematic zoology as it becomes increasingly a matter of retro-digitized re-reflected virtual animality, experienced as denatured cathode fauna in the hyper-discursive non-semantic marker for "menagerie" that will arrive tomorrow. Honestly, and no offense but, Kittens Inspired By Kittens could only be considered "fucked up" from the perspective of mono-heterosexist non-beastial speciesism, with overtones of anti-piercing mania and nasel regressive oribophobia.
3 comments:
I love cats, but that's fucked up.
I love cats, but that's fucked up.
Lisa, I contend that your curt critique of Kittens Inspired By Kittens is without merit. In my estimation, the film is an aesthetically compelling exemplar of a postmodern metaconceptual allusory signifier internment, however temporary and partitioned. The tri-planar yet entirely internal references to the kitten as objectified wild beauty cum domesticated pussy cum textually encased symbol of itself as decentered image of '"The Cat'" in the visual domain is subjected in the oral/aural zone to an artistic replication of Lacanian mirror dissension. The result is a deconstructed synthesis of the two main lines in Eliot, these most directly evident in "Old Possum's Book of Practical Cats" and The Hollow Men," albeit without the high modernist versification (obviously) or the notorious anti-Semitism. This is a powerful opening statement from such a young film-maker, from whom we should expect exciting work in the future. If she can do for canines what she has already achieved for felines, I am confident that she will corner the market in household cinematic zoology as it becomes increasingly a matter of retro-digitized re-reflected virtual animality, experienced as denatured cathode fauna in the hyper-discursive non-semantic marker for "menagerie" that will arrive tomorrow. Honestly, and no offense but, Kittens Inspired By Kittens could only be considered "fucked up" from the perspective of mono-heterosexist non-beastial speciesism, with overtones of anti-piercing mania and nasel regressive oribophobia.
Then - Ben
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