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I really like the way the ciepcotnon of this film's mise-en-scene re-captures the heaviness, the materiality, if you will, of early electrical equipment and research instruments. We live in an age that is able to streamline and lighten electronics and so it's easy for us to forget the sheer bulkiness of the previous aesthetic though, of course, that bulk is more apparent to us than its contemporaries, to whom it would naturally have appeared lighter and/or cleaner than coal, steam, gas equipment.I also like the reminder of power's rootedness in nature and the material (in two senses of the term) conjunction of nature and manufacture. Again, in the streamlined aesthetic of today's laptops, iPods, etc., it's easy to see them as divorced from nature, even beneficially divorced in having less impact by having, for example, longer lived batteries and smaller chassis. But that sense of removal from the natural and from the human body is, of course, an illusion that this film remedies. For instance, the sheer bulk of the lightning bottle, based on a Leyden jar, as a strikehand balances it on his shoulder to carry it encapsulates the conjunction of the natural world, the industrial use of that world, and the human mind and body that implement that use.
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(VISITOR) AUTHOR'S NAME
Garaung
MESSAGE TIMESTAMP
16 december 2014, 19:01:36
AUTHOR'S IP LOGGED
190.207.1.82
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