Poetry and Pornography: Permutations of the Moving Image

By Iona Pelovska.

Published by The International Journal of the Image

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Article: Print $US10.00
Article: Electronic $US5.00

While the inner (non-volitional dreamed) moving image may be a bona fide faculty of the mind unhindered by physical feedback, it is nonetheless neurologically grounded in the body. In a way, the dream vision is a sensory experience without the senses. Moving image technologies externalize this most private space/time – the oneiric space-time - rendering it open to the public eye. They extract the mental vision from the sensory isolation of dream and render it accessible to the senses in cinema (viewing).
Departing from this twofold view on the moving image as a cinematic technique, on one hand, and as mental phenomenon, on the other, this paper will examaine the two basic ways of rendering the image into cinematic movement – continuous editing and montage. How do those approaches to the moving image correspond to mental processes and what are their implications for the viewer? Bringing together examples from the far ends of cinema (experimental film and pornography), the paper will map out certain cognitive connotations of the cinematic language as well as ways it problematizes vision and sensuality (corporeality).

Keywords: Moving Image, Montage, Continuous Editing, Mind, Masturbation, Embodied Reality, Oneiric Reality, Dream, Language, Cinema Language, Cognition, Corporeality, Cinema Technology, New Technologies, Media, Senses, Pornography, Experimental Film, Poetry, Poiesis

The International Journal of the Image, Volume 1, Issue 3, pp.129-138. Article: Print (Spiral Bound). Article: Electronic (PDF File; 885.647KB).

Iona Pelovska

PhD Candidate, Communication and Culture, Ryerson/York University, Toronto, Ontario, Canada

Iona Pelovska is a filmmaker, Rogers Fellow and PhD Candidate in Communication and Culture at Ryerson/York University. Interested in the aesthetic convergence of technology and corporeality, she focuses on researching the cognitive implications of moving image technologies, from early cinema to digital media. She has published papers and essays on cognition, art and new technologies and has presented at conferences in Canada and Europe. Iona Pelovska has received support for her film work from Concordia University, Canada Arts Council, Quebec Arts Council, Videographe Montreal and Bravo!Fact. Her work has been broadcast on TV networks in Bulgaria and Canada and has been screened at art venues and film festivals in Canada, Europe and the U.S.