The use of the shell to infiltrate the interior of A la Ronde, sites specifically these notions of the culinary abject. . . Return to tables of contents . . It possesses all the attributes of a social apparatus, though it varies in its strategic operation. More than an optical machine for mechanically reproducing movements that are external to it, by the operations of montage the cinema produces motion that is different in kind and mobilizes a cinematic perception which couples what we see with that which could be seen by another. Montage, or the act of selecting and assembling of shots, does not simply leave immobile sections and gaps requiring external narrative links or cognitive associations to authorize their movements.
Cinematic motion is both prior to and independent of the manoeuvres of the narrative or script.
Since the boundaries of shots are permeable there is already a virtual motion which traverses them. The strategy of montage is therefore affective rather than cognitive. Return to tables of contents . . This paper attempts to throw light on the relationship between monstrosity and the production of meaning in a positive economy of power. Return to tables of contents . .