[...]="trms">phenomenon that were other wise invisible to even the discerning eye of the expert ='lgc'><='lgc'>-- ='strcls'>**to move away from a reliance on ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics='strcls'>**


='strcls'>**medicalization of the invisible='strcls'>**

possession
set the ="trms">stage for the explicit medicalization of the mobile invisible forces that experts had been struggling to master, explain, and take ="trms">measures against ='lgc'>='lgc'>--> a new mode that was equally ='strcls'>*didactic and forensic='strcls'>* (as the theological frameworks deployed by inquisitors and the exorcise of demons by Church)

="large lg2" stl="font-size:111%"> witch="trms">craft, faith healing, and demonic possession
Bibliotheque diabolique ='lgc'>='lgc'>--> case studies to de="trms">monstrate the precariousness of misre="trms">presentation and the consequences of ignorance ='lgc'>~= investigations collected by Charcot and his students in their studies of hysteria
="lsts lst1">•clarifying the link between witch="trms">craft and hysteria

='strcls'>*witch hunting and the exorcism of spirits in the 16th century (='lgc'>='lgc'>--> antiquated forms of inquiry) ='lgc'>~=='qstn'>?! clinical studies of nervous illness in the 19th century ='lgc'>='lgc'>--> conceptual scaf="trms">folding of the emergent ="trms">science='strcls'>*='lgc'>:
="lsts lst1">•fascination with the secondary visible effects of primary invisible forces
="lsts lst1">•long-term labor of ="trms">social ="trms">interpretation that required the mutation of old ="trms">categories and the creation of new ones

='lgc'>='lgc'>==> “witch='lgc'> = misdiagnosed”

epilepsy, the sacred disease, erroneously perceived as resulting from hostile magic
='lgc'>=/= hysteria (hold a special place in the moral ="trms">imaginary)

the special susceptibility of women to witch="trms">craft mirrored the “feminine weakness” as="trms">sociated with the hysteric, exacerbated by low ="trms">social status
="prgrph">-in countless accounts of possession, we find descriptions of demons speaking through the mouths of girls
='lgc'>[="ppl">Baxstrom ='lgc'>+ ="ppl">Meyers ='lgc'>=/= Federici's flat analysis of witch hunt as the tool of subjugation of the local population or of woman by men='lgc'>]

tableau vivant ='lgc'>--into='lgc'>='lgc'>--> tableau clinique ='lgc'>--into='lgc'>='lgc'>--> tableau critique

hysterical reliving of the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal ="trms">symptom ='lgc'>='lgc'>--> reframed trauma='lgc'>: an attempt to suspend the two temporalities (real and re="trms">imagined) in the same image
='at'>@="frds scrmbld">Hoda

one element of fascination with hysteria was its “look” ='lgc'>='lgc'>--> hysteria's ="trms">aesthetic link to forms of possession

possession ='lgc'>='lgc'>--> aneasthesias, amnesias, subconscious acts, ="trms">somnambulisms, fixed ideas

a scaf="trms">folding='lgc'>: conceptually arranged chasm between outer and inner states ='lgc'>='lgc'>==>
="lsts lst1">•exorcists building on the ="trms">techniques of inquisitors and witch hunters ='lgc'>='lgc'>--> possession acts as the bridge across this chasm
="lsts lst1">•="trms">neurologists and psychologists construct the same
='lgc'>--='not'>✕='lgc'>='lgc'>--> (Malinowski's) ="trms">anthropologists='lgc'>: fieldworkers as truth-tellers returning from the dark corners of the real (the witches are no longer explicitly the target of the inquiry)

="nms">Häxan's real object='lgc'>: the specter of sheer nonsense

hunt (even in objective ="trms">scientific mastery) ='lgc'>='lgc'>--> fueled by a desire operationalized in a ="trms">method of being close enough to something to sense it

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

(='qstn'>?every time we have to) show how ='strcls'>*the word (that we are using) relates to meaning='strcls'>*

Christensen makes every effort to ="trms">craft a witch that is real to us ='lgc'>: ="trms">ontological fluidity of a cinematic image ='lgc'>='lgc'>==> “="nms">Häxan='lgc'> = word ='lgc'>+ image ='lgc'>+ thing”

metoposcopy='lgc'>: the expression of reasoning was to be found on the face, (dating back to Girolamo Cardano and the Renaissance) the operation of reason as the weaving together of images in the mind ='lgc'>='lgc'>--> a proto-cinematic theory of the ="trms">relation between image and thought if ever there was one

="lsts lst1">•re="trms">spectable scholar indexes himself through his sources
="lsts lst1">•="trms">authoritarian first-person tenor ='lgc'>='lgc'>--> ="trms">instrumentally impersonal tenor
="lsts lst1">•establishing the X as a chapter within a much longer constellation of practices, discourses, traditions, and institutions

Kieckhefer ='lgc'>='lgc'>--> how the long ="trms">history of practical ="trms">natural magic was en="trms">folded into the ="trms">specificity of European witch="trms">craft in the late Middle Ages

Christ in Limbo ='lgc'>='lgc'>--> Christensen's parallel editing ='lgc'>='lgc'>==> moving re="trms">presentation of a terra-centered universe ='lgc'><~~ elaborate ="trms">wonders found in baroque wunderkammer (meticulously assembled by the German elite)


Renaissance Hermeticism='lgc'>:
="trms">writings of Hermes Trimesgistus ='lgc'>='lgc'>~=> foundation for='lgc'>:
="lsts lst1">•Ficino's relatively mild ="trms">natural magic
="lsts lst1">•Pico della M="nms">irandola's ="frds scrmbld"nttrm="Christianson">Christian Caba="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list
="lsts lst1">•Agrippa's ="frds scrmbld"nttrm="Christianson">Christian magus
="lsts lst1">•Tommaso Campanella's (1568–1639) utopian City of the Sun
="lsts lst1">•="ppl">Bruno's full-blown Hermetic–Caba="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list (through the power of astrology and magic to bypass the Church altogether)
="lsts lst1">•

="large lg1" stl="font-size:148%"> ...rippling effects of the Hermetic–Caba="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list tradition ='lgc'>='lgc'>-->
="lsts lst1">•scrupulously mathematical astrology of Girolamo Cardano
="lsts lst1">•the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorously ="trms">="trms">empirical studies of the ="trms">natural ="trms">world ="trms">demanded by ="ppl">Bruno's attempts to operate as a magus
='lgc'>}='lgc'>='lgc'>==> (paved the way for) ="trms">science of ="ppl">Newton and Copernicus ='lgc'>='lgc'>--> a new ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics to emerge

attacks on Renaissance magic and the Hermetic–Caba="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list tradition (that ="trms">authorized witch) ='lgc'>='lgc'>==> anti-witch treatises

(case of Giordano ="ppl">Bruno's execution ='lgc'>='lgc'>--> Hermetic magic and Cabalism) how in the 16th century='lgc'>: “superstition='lgc'> = crime”


(Christensen attributing) ='lgc'>='lgc'>--> Hortus deliciarum, a largely cohesive image of hell to a period when the ="trms">nature of hell's location and “topography” was a subject of fierce theological debate
="prgrph">-he strategically ignores debates and alternate conceptions of damnation that existed in the 15th and 16th centuries in Europe

='lgc'>[that which you choose='lgc'>] works to amplify ="trms">affect more than further analysis (='lgc'>='lgc'>--> such as Christensen's attempt to heighten the fiery terror of the s="trms">cene by billowing smoke ='lgc'>='lgc'>==> عام generic explanation)



...a palpable sexual dimension crepting into Christensen's thesis ='lgc'><='lgc'>-- images of women “sneaking away” to attend Sabbats

="nms">Häxan visually grounds itself in ="trms">citable evidence from the start
="lsts lst1">•cinema='lgc'>: (as an ="trms">instrument for “recording reality”) a vehicle for “telling the truth” about the ="trms">world ='lgc'>[in early 1920s='lgc'>]

when documentary was not yet documentary ='lgc'>-- ="trms">fiction wasn't ="trms">fiction yet either ='lgc'>--Chanan='lgc'>='lgc'>-->='lgc'>{
moving pictures='lgc'> = visual tidbits لقمه چرب ونرم
made no ="trms">demands on ="trms">literacy (='lgc'>='lgc'>==> sp="trms"nttrm="already,spread">read easily)
whe ="trms">world on the screen remained anecdotal (and predominantly iconic)
practically in="trms">articulate (in terms of public discourse)='lgc'>}

(1900) visual meaning-making machines that ="trms">demanded not only attention but belief (by ="trms">staging as real reenactments) ='lgc'>='lgc'>--> mutated the desire to see far-off contemporary events
="lsts lst1">•='lgc'>='lgc'>--> Attack on a China ="trms">Mission Station (1900), Hunting Big Game in Africa (1907), and With Captain Scott, R.N., the South Pole (1912), The Battle of the Somme (1916) and With Our Heroes at the Somme (Bei unseren Helden an der Somme, 1917)

="large lg3" stl="font-size:112%"> (="ppl">Baxstrom ='lgc'>+ ="ppl">Meyers) ="trms">question of ="trms">mimesis
="prgrph">-what is the ="trms">relation between a fragmentary visual artifact drawn “from life” and the truth value of any such fragments='qstn'>?
="prgrph">-what ="trms">sorts of filmmaking practices can felicitously mimic life as such='qstn'>?

='lgc'>[='thdf'>for example in Curtis's In the Land of the War Canoes='lgc'>] status of reenactment ='lgc'>='lgc'>==> prevailing standards of expressing the real

='lgc'>--later ='lgc'>='lgc'>--> crypto-structura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin myth that falsely re="trms">presented what “documentary” meant to pre-Griersonian filmmakers ='lgc'>='lgc'>==> “rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list” Lumiere ='lgc'>=/= the “fanciful” Melies

='lgc'>}='lgc'>='lgc'>--> ='strcls'>*gap between witnessing and the real='strcls'>* in Europe (this ="trms">question of evidence occupied inquisitors and theologians long before the invention of cinema)

="large lg4" stl="font-size:112%">
preparing viewers for the “diegetic absorption”
(telling of a ="trms">story by a ="trms">narrator) diegesis ='lgc'>=/= ="trms">mimesis

the strategy of “re="trms">imaging” is ="trms">methodological and intentional (in the opening minutes of the film ="nms">Häxan) ='lgc'>='lgc'>--> (in European terms, for a very long time='lgc'>:) “knowl="trms"nttrm="knowledge,Knowledge">edge='lgc'> = re="trms">citations of the known”

='lgc'>+ creation of new images ='lgc'>='lgc'>--> constituting its own evidence for what is at stake
(Christensen designating) ='strcls'>**="trms">techniques of ="trms">presentation rather than simple content='strcls'>**

='strcls'>****the “truth” gained by the reproduction of archival images='strcls'>**** ='lgc'><='lgc'>==through='lgc'>== their mobility in the context of their new use
='lgc'>='lgc'>--> (similar to Farocki) Christensen empties out such visual artifacts, expressing through their preestablished frame a meaning that was hidden and resisted

="large lg5" stl="font-size:129%">

(="ppl">Baxstrom ='lgc'>+ ="ppl">Meyers carefully treating the) ="trms">methodological element of Christensen's image-making practices ='lgc'>--in='lgc'>='lgc'>--> ="nms">Häxan's depiction of the violent moral disorder of the ="trms">Wild Ride of the witches to their Sabbats

(16th[...]