[...]s

Christ in lss='trgt hghlght 1'href='?q=L'>Limbo <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Christensen's parallel editing <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> moving relss="trms">presentation of a terra-centered universe <lgc clss='lgc'><<lgc clss='lgc'>~lgc><lgc clss='lgc'>~lgc>lgc> elaborate lss="trms">wonders found in baroque wunderkammer (meticulously assembled by the German elite)


Renaissance Hermeticism<lgc clss='lgc'>:lgc>
lss="trms">writings of Hermes Trimesgistus <lgc clss='lgc'><lgc clss='lgc'>~lgc>=>lgc> foundation for<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•Ficino's relatively mild lss="trms">natural magic
lsts> <lsts clss="lsts lst1">•Pico della Mlss="nms">irandola's lss="frds scrmbld"nttrm="Christianson">Christian Cabalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list
lsts> <lsts clss="lsts lst1">•Agrippa's lss="frds scrmbld"nttrm="Christianson">Christian magus
lsts> <lsts clss="lsts lst1">•Tommaso Campanella's (1568–1639) utopian City of the Sun
lsts> <lsts clss="lsts lst1">•l clss="ppl">Brunol>'s full-blown Hermetic–Cabalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list (through the power of astrology and magic to bypass the Church altogether)
lsts> <lsts clss="lsts lst1">•
lsts>
<lrg clss="large lg2" stl="font-size:112%"> ...rippling effects of the Hermetic–Cabalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list tradition <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>
<lsts clss="lsts lst1">•scrupulously mathematical astrology of Girolamo Cardano
lsts> <lsts clss="lsts lst1">•the lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorously lss="trms">lss="trms">empirical studies of the lss="trms">natural lss="trms">world lss="trms">demanded by l clss="ppl">Brunol>'s attempts to operate as a magus
lsts> <lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> (paved the way for) lss="trms">science of l clss="ppl">Newtonl> and Copernicus <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a new lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics to emerge

attacks on Renaissance magic and the Hermetic–Cabalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list tradition (that lss="trms">authorized witch) <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> anti-witch treatises
lrg>
(case of Giordano l clss="ppl">Brunol>'s execution <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Hermetic magic and Cabalism) how in the 16th century<lgc clss='lgc'>:lgc> “superstition<lgc clss='lgc'> = lgc>crime”


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

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



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

lss="nms">Häxan visually grounds itself in lss="trms">citable evidence from the start
<lsts clss="lsts lst1">•cinema<lgc clss='lgc'>:lgc> (as an lss="trms">instrument for “recording reality”) a vehicle for “telling the truth” about the lss="trms">world <lgc clss='lgc'>[lgc>in early 1920s<lgc clss='lgc'>]lgc>
lsts>
when documentary was not yet documentary <lgc clss='lgc'>--lgc> lss="trms">fiction wasn't lss="trms">fiction yet either <lgc clss='lgc'>--lgc>Chanan<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc><lgc clss='lgc'>{lgc>
moving pictures<lgc clss='lgc'> = lgc>visual tidbits لقمه چرب ونرم
made no lss="trms">demands on lss="trms">literacy (<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> splss="trms"nttrm="already,spread">read easily)
whe lss="trms">world on the screen remained anecdotal (and predominantly iconic)
practically inlss="trms">articulate (in terms of public discourse)<lgc clss='lgc'>}lgc>

(1900) visual meaning-making machines that lss="trms">demanded not only attention but belief (by lss="trms">staging as real reenactments) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> mutated the desire to see far-off contemporary events
<lsts clss="lsts lst1">•<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Attack on a China lss="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)
lsts>
(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl>) lss="trms">question of lss="trms">mimesis
lss="prgrph">-what is the lss="trms">relation between a fragmentary visual artifact drawn “from life” and the truth value of any such fragmentslss='qstn'>?
lss="prgrph">-what lss="trms">sorts of filmmaking practices can felicitously mimic life as suchlss='qstn'>?

<lgc clss='lgc'>[lgc>lss='thdf'>for example in Curtis's In the lss='trgt hghlght 1'href='?q=L'>Land of the War Canoes<lgc clss='lgc'>]lgc> status of reenactment <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> prevailing standards of expressing the real

<lgc clss='lgc'>--lgc>later <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> crypto-structuralss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin myth that falsely relss="trms">presented what “documentary” meant to pre-Griersonian filmmakers <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> “realss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list” lss='trgt hghlght 1'href='?q=L'>Lumiere <lgc clss='lgc'>=/=lgc> the “fanciful” Melies

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


preparing viewers for the “diegetic absorption”
(telling of a lss="trms">story by a lss="trms">narrator) diegesis <lgc clss='lgc'>=/=lgc> lss="trms">mimesis

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

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

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



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

(16th century) lss="trms">Wild Ride<lgc clss='lgc'>:lgc> a standard element of both demonological and popular lss="trms">literary accounts of the activities of witches, lss="trms">folding<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•older legends of lss="trms">wild hunters
lsts> <lsts clss="lsts lst1">•restless lss="trms">travels of the dead at night
lsts> <lsts clss="lsts lst1">•tales of the Furious Horde (a super lss="trms">natural band that was not olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginally aslss="trms">sociated with witchlss="trms">craft)
lsts> <lsts clss="lsts lst1">•twisted chaos of the deep forest
lsts> Canon Episcopi regarding the power of demonic illusion to deceive women into lss="trms">imagining that they could lss="trms">travel great distances at night, often in the company of the goddess Diana
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> conjoining of witch image to demonological discourse <lgc clss='lgc'>[lgc><lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> an lss="trms">lss="trms">empirically verifiable invention in the late medieval period and the Renaissance<lgc clss='lgc'>]lgc>

ls clss='strcls'>*ls>the oscillating value of the non-lss="trms">fictivels clss='strcls'>*ls> (of its discrete artifacts)

hybrid human–lss="trms">animal creatures with each “lss="trms">natural” lss="trms">species being traceable within the complete appearance of the demonic creature


(coming into contemporary performance art <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>) figures from antiquity<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•Saturn lss='at'>@lss="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Ale
lsts> <lsts clss="lsts lst1">•Circe lss='at'>@lss="frds scrmbld">Bryana (changing men into lss="trms">beasts, games of chance, gambling, tricks, slight of hand, illusion, hybrid lss="trms">animal–human forms of the demons dancing around the “grandmother” with surprisingly young and beautiful appearance <lgc clss='lgc'>--lgc>melancholy<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> general sense of sexual and lss="trms">societal disorder swirling around a placid, passive female protagonist) <lgc clss='lgc'>+lgc> lss="trms">lss="trms">empirical strain of the discourse of the witch
lsts> <lsts clss="lsts lst1">•Sabbat lss='at'>@lss="frds scrmbld">Jassem
lsts> <lsts clss="lsts lst1">•
lsts> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>

pact of the witch
obsessed state of the hysteric
lss="trms">interplay of face and tableau
lrg>
(Warburg's assertion that) donning a mask constitutes an active attempt “to wrest something magical from lss="trms">nature through the transformation of the person”
<lgc clss='lgc'>[lgc>putting on a mask <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> transformation of the person <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> obtaining omething magical from lss="trms">nature<lgc clss='lgc'>]lgc>

Christensen formally constructing “the witch” through a cinematic iteration of metoposcopic lss="trms">naturalism
(metoposcopy<lgc clss='lgc'>:lgc> a form of divination in which the diviner predicts personality, character, and destiny, based on the pattern of lines on the subject's forehead.)

(l clss="ppl">Avitall>) lss="trms">scientific imperative (the lss="trms">demand in the 19th century for an lss="trms">epistemological relss="trms">liable inquiry in the lss="trms">nature of things) <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> fascination for the freak and the occult <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> on the way to lss="trms">technology
lrg>

(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl> > Philippe Alain-Michaud on Warburg) “in Mnemosyne, photographic reproduction is not merely illustrative but a general plastic medium to which all figures are reduced before being arranged in the space of a panel. In this way, the viewer participates in two successive transformations of the olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal lss="trms">material<lgc clss='lgc'>:lgc> lss="trms">different types of objects (paintings, reliefs, drawings, architecture, living beings) ls clss='strcls'>*ls>are unified through photographyls clss='strcls'>*ls> before being arranged on the panel stretched with black cloth. The panel is in turn ls clss='strcls'>*ls>rephotographed in order to create a unique imagels clss='strcls'>*ls>, which will be inserted into a series intended to take the form of a lss="trms">book. The atlas, then, does not limit itself to describing the migrations of images through the lss="trms">history of relss="trms">presentation<lgc clss='lgc'>:lgc> it reproduces them. In this sense, it is based on a cinematic mode of thought, one that, by using figures, aims at not lss="trms">articulating meaning but at producing effects.”


transgressive approach to the archive<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•Gerhard Richter's Atlas, 2006
lsts> <lsts clss="lsts lst1">•Jean-lss='trgt hghlght 1'href='?q=L'>Luc lss="frds scrmbld"nttrm="Godard">Godard's lss="trms">Histoire(s) du cinema, 1988
lsts> <lsts clss="lsts lst1">•Christensen's lss="nms">Häxan
lsts> <lsts clss="lsts lst1">•Warburg’ Mnemosyne (lss="trms">presentation of a series of visual cliches and stereotypes, fragments which were most likely allss="trms"nttrm="already,spread">ready familiar to the viewer <lgc clss='lgc'>~lgc> lss="trms">figurative givens <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> lss="trms">lss="trms">empirical evidence <lgc clss='lgc'>+lgc> media to conjure with)
lsts> <lsts clss="lsts lst1">•l clss="ppl">Bataillel>'s journal ‘Documents’ 1929–30 <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> seizes cliched objects and then lss="trms">systematically empties them out in the course of its own expressions. l clss="ppl">Bataillel> and his contributors sought to defamiliarize the cliches, disturbing the placidly deceptive surface of the mundane in their fragmentary, juxtaposing lss="trms">methods of critique and lss="trms">presentation <lgc clss='lgc'>=/=lgc> Warburg <lgc clss='lgc'>+lgc> Christensen collecting mythological, lss="trms">figurative givens seemingly quite distant from the “really” real
lsts> <lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> unsettling distances between myth and the everyday
lss="prgrph">-weave together episodic fragments in order to draw parallels (across domains of sense that cut across time) and corlss="trms">respondences across lss="trms">situations and characters
lss="prgrph">-lss="nms">Häxan deploys the lss="trms">techniques aslss="trms">sociated with Warburg's Mnemosyne and l clss="ppl">Bataillel>'s Documents for purposes of lss="trms">affectively emphasizing the dark, chaotic forces that lss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurk under the smooth surface of the everyday
(lss="nms">Häxan's episodic structure <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc>)
<lsts clss="lsts lst1">•characters seemingly out of a dead lss="trms">past to live again
lsts> <lsts clss="lsts lst1">•draw the lss="trms">phenomenology of the hysteric
lsts> <lsts clss="lsts lst1">•draw the work's own contemporary time to the surface
lsts>

promiscuous<lgc clss='lgc'>:lgc> neither wholly artistic nor lss="trms">scientific <lgc clss='lgc'>=/=lgc>lss='qstn'>? hybrid artistic and lss="trms">scientific

lss="trms">traverse steep slope between lss="trms">past and future in the form of an event <lgc clss='lgc'>=/=lgc> plot


inability to automatically lss="trms">categorize lss="nms">Häxan (or any work of art) <lgc clss='lgc'><<lgc clss='lgc'>==lgc>lgc> ls clss='strcls'>***ls>formal strategy rooted in an lss="trms">epistemic virtuels clss='strcls'>***ls>


ls clss='strcls'>***ls>(in later Middle Ages) practices such as persecuting witchlss="trms">craft to meditating on Christ<lgc clss='lgc'> = lgc>lss="trms">techniques (of lss="trms">sorting operation) to draw distinctions among visual lss="trms">phenomena, lss="trms">differentiating, say, physical objects from fantasies, dreams, and diabolical or artful deceptions
<lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc>artist<lgc clss='lgc'>--lgc> image-makers specialized in manipulating one thing (their lss="trms">materials) in order that a viewer should see something else <lgc clss='lgc'>~lgc> ls clss='strcls'>*ls>to make something invisible visiblels clss='strcls'>*ls> <lgc clss='lgc'>[lgc><lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> this is always ideological, and is very common in art<lgc clss='lgc'>]lgc>
(lss='at'>#testing) the objective knowllss="trms"nttrm="knowledge,Knowledge">edge possessed by the uncanny (in witch's pathological lss="trms">language of diabolic proofs) <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> witch must be experienced in her own milieu, a satanic biome, her state in lss="trms">nature

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

typical in 17th century<lgc clss='lgc'>:lgc> tacit lss="trms">mutuality of word lss='and'>& image
lss="prgrph">-artists habitually gave their paintings titles, mottoes, tags and quotations, and their works abound in lss="trms">literary allusions
lss="prgrph">-explicit lss="trms">interleaving of the lss="trms">verbal and visual


<lrg clss="large lg1" stl="font-size:117%"> cat feces and dove hearts boiled in the moonlight
lrg>
stereotype of a debased and corrupted priest
object of the customer's lss="trms">affections


Protestant discourse against the Catholic Church in the 16th century <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> artists of the period extended the lss="trms">instrumentalization of slander through the production of proto-pornographic images of bishops, priests, and the pope engaged in myriad obslss="trms">cene acts <lgc clss='lgc'>--lgc>depicting<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the emotional states and desires of the clergy

magical salves (considered particularly powerful and troubling by demonologists)

lss="nms">Häxan self-lss="trms">positioning as a lss="trms">scientific investigation <lgc clss='lgc'>+lgc> constantly pull back from the dramatic outcomes of what lss="nms">Häxan depicts

lss="nms">Häxan's delss="trms">monstration of the power of the witch <lgc clss='lgc'>=/=lgc> lss="trms">paranoid delusions of witch- crazed villagers


widely held set of beliefs regarding the “lss="trms">nature” or “essence” of women
Christina lss='trgt hghlght 1'href='?q=L'>Larner's assertion that witch trials were gender-related (but not by delss="trms">finition gender-lss="trms">specific)
<lgc clss='lgc'>--lgc>l clss="ppl">Baxstroml><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>women often came under suspicion of being witches because they were understood to be particularly susceptible to lust, avarice, and jealousy by their very lss="trms">nature <lgc clss='lgc'>[lgc><lgc clss='lgc'>~lgc> 16th century<lgc clss='lgc'>:lgc> ls clss='strcls'>**ls>women “lss="trms">naturally” susceptible to witchlss="trms">craftls clss='strcls'>***ls> <lgc clss='lgc'>+lgc> women were presumed to possess elements of the lss="trms">nature more than men<lgc clss='lgc'>]lgc> <lgc clss='lgc'>=/=lgc> Federici's understanding of witch-hunt as straight-forward instance of misogynyls clss='strcls'>*ls>
<lgc clss='lgc'>--lgc>Roper<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>one cannot approach witchlss="trms">craft or possession from a vantage point in the lss="trms">present without granting some legitimate status to the ways in which the Devil and witches were not only asserted to be real but were experienced as suchls clss='strcls'>*ls>


(debates over) politics and evil
satan's malefic lss="trms">presence (in Dreyer's lss='trgt hghlght 1'href='?q=L'>Leaves)
ls clss='strcls'>*ls>a lss="trms">density of parallelismsls clss='strcls'>*ls>
Dreyer figures Satan as a problem of the lss="trms">present
“Bolsheviks violently engaged in revolutionary struggle<lgc clss='lgc'> = lgc>manifestation of a transcendental demonic power”

lss="trms">question of theodicy <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> God's seeming absence from the lss="trms">world
lrg>
sleep-walking <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> enticing a nude female lss="trms">somnambulss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list out of her home into the forest, where she eventually kneels before a demon who embraces her

proving sexual lss="trms">relations with the devil <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> lss="trms">lss="trms">empirical evidence for satan's existence

(l clss="ppl">Benjaminl> > Christensen's art sets out) to conquer meaning


...so it is no stretch to suglss="trms">gest that...

subject and subtext



dreamtime of the 16h century
dreamtime of the witch


<lsts clss="lsts lst1">•Durer, Baldung, Cranach, artists at the dawn of the Reformation sought to relss="trms">present the void as a figure
lsts> <lsts clss="lsts lst1">•strategies by which Expressionist painting sought to externalize states of mind
lsts>
(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl> emphasizing) how lss="nms">Häxan ls clss='strcls'>*ls>corlss="trms">responds with a variety of traditionsls clss='strcls'>*ls> without seeking to assimilate the film fully within one over another



stillness and fixity of tableau-like shot comlss="trms">position (Dreyer, Murnau, Christensen) <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> (the lss="trms">affect of) suffocating organization

l clss="ppl">Deleuzl>e summary of Expressionism<lgc clss='lgc'>:lgc> play of light and darkness, with the mixture of the two producing an effect that suglss="trms">gests either falling into the black hole or ascending towards the light <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> ls clss='strcls'>*ls>facels clss='strcls'>*ls> makes this lss="trms">affective power mobile
lrg>
<lsts clss="lsts lst1">•(in Murnau) tableau <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> frees the viewer for introspection regarding lss="trms">nature in a kind of emotional, spiritual release <lgc clss='lgc'>=/=lgc> close-up (disruptive pathos)
lsts> <lsts clss="lsts lst1">•(in lss="nms">Häxan) tableau <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> grounds the uncontrollable forces at work on the faces of those confronted by the power of the witch (constituting a shot that is intensive <lgc clss='lgc'>=/=lgc> introspective)
lsts>

lss="nms">Häxan film <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> progressive unlss="trms">folding of the lss="trms">material lss="trms">world through the style of a lss="trms">lecture
lss="prgrph">-exploration of the lss="trms">wonders and “errors” of the lss="trms">past (with near-messianic belief in the perfectibility of man)
magnified form of realss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list cinema <lgc clss='lgc'>+lgc> rooted in a lss="trms">naturalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list impulse <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Christensen's witch is not only here now, it has always been here<lgc clss='lgc'>:lgc> “witch<lgc clss='lgc'> = lgc>a figure of lss="trms">nature”
lss="prgrph">-lss="nms">Häxan begins with woodcuts, drawings, and paintings that olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginate from ls clss='strcls'>*ls>an act of touchls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> haptic vision <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> to lss="trms">present lss="trms">figurative cliched givens <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> establish the ground
lss="prgrph">-seizes (the audience) and is seized (by the witch)
lss="prgrph">-seeing and touching ls clss='strcls'>*ls>virtual beingsls clss='strcls'>*ls> (such as devils)
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorously logical structure <lgc clss='lgc'>+lgc> expressing the tangible singularity of the power of the witch

ls clss='strcls'>*ls>(from) tales <lgc clss='lgc'>--lgc>to<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> theology <lgc clss='lgc'>--lgc>to<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> diagnosisls clss='strcls'>*ls>


“advancement” of lss="trms">natural knowllss="trms"nttrm="knowledge,Knowledge">edge <lgc clss='lgc'><<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> demonology


witch<lgc clss='lgc'>:lgc> a viral character


witch hunters's trial by water ls clss='strcls'>*ls>is not a “trial” but rather an experimentls clss='strcls'>*ls> (to identify evidence of evil's lss="trms">presence<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>in the absence of direct unmotivated proof) <lgc clss='lgc'>--lgc>operating<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> though a form of non-knowllss="trms"nttrm="knowledge,Knowledge">edge <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> mastery of nonsense
= ls clss='strcls'>***ls>a deep appreciation of (that might seem misguided to us)<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•cause-and-effect lss="trms">relations
lsts> <lsts clss="lsts lst1">•forces at work in the lss="trms">natural lss="trms">world
lsts> (<lgc clss='lgc'>=/=lgc> inlss="trms">difference to the truth, retreat into superstition)
<lgc clss='lgc'>~lgc>
<lgc clss='lgc'>[lgc>these<lgc clss='lgc'>]lgc> cases suglss="trms">gestive of and lss="trms">lss="trms">empirically linked to general laws. the case said something about the lss="trms">world, and once a case was established, it would splss="trms"nttrm="already,spread">read like a contagion (<lgc clss='lgc'>=/=lgc> proof of misogy or genocide as Federici asserts)


<lrg clss="large lg3" stl="font-size:112%"> lrg>
Flaherty <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> a certain truth regarding the total lss="trms">social environment <lgc clss='lgc'>:lgc> force of Nanook's life not only provides lss="trms">lss="trms">empirical evidence as to his mode of living but also allows for a refl ection on “lss="trms">nature”, “humanness”, “lss="trms">modernity” rooted in the haptic qualities of Flaherty's images

maleficium (of the witch <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> palpable<lgc clss='lgc'>:lgc> destructive weather magic, assault of farm lss="trms">animals, sickness, unexplained death, etc.)

saturn's mythological violence <lgc clss='lgc'><<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> satan
lss='thdf'>the idea that saturn serves as patron to lss="trms">social outliers<lgc clss='lgc'>:lgc> the poor, elderly, disabled, criminals, jews, cannibals, magicians, witches

<lrg clss="large lg4" stl="font-size:110%"> (early lss="trms">modern period <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>) ls clss='strcls'>**ls>satan<lgc clss='lgc'> = lgc>the principal lss="trms">authority of the lss="trms">natural lss="trms">worldls clss='strcls'>**ls>, “master of the knowllss="trms"nttrm="knowledge,Knowledge">edge of lss="trms">natural properties and the lss="trms">techniques of their lss="trms">instrumentalization” <lgc clss='lgc'>=/=lgc> lss="trms">techniques of the healer <lgc clss='lgc'>=/=lgc> lss="trms">lss="trms">empirical lss="trms">instruments
lrg>
(l clss="ppl">de Certeaul> observed that) every exercise of trained judgment is lss="trms">authorized through the <lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>dark<lgc clss='lgc'>:lgc> ratifying force of theology
ls clss='strcls'>**ls>dark forces <lgc clss='lgc'>--lgc>ratify<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> all forms of lss="trms">natural expertisels clss='strcls'>**ls>

mastery of nonsense <lgc clss='lgc'>--lgc>driving<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> confirming the suspicion of witchlss="trms">craft<lgc clss='lgc'> = lgc>a form of non-knowllss="trms"nttrm="knowledge,Knowledge">edge <lgc clss='lgc'>==lgc>opens<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> a gap in knowing (lss="trms">specifically, ‘who’)


line of accusation that was quite common in the early lss="trms">modern p[...]