[...]time of the 16h century
dreamtime of the witch


•Durer, Baldung, Cranach, artists at the dawn of the Reformation sought to represent the void as a figure
•strategies by which Expressionist painting sought to externalize states of mind

(Baxstrom + Meyers emphasizing) how Häxan *corresponds with a variety of traditions* without seeking to assimilate the film fully within one over another



stillness and fixity of tableau-like shot composition (Dreyer, Murnau, Christensen) ==> (the affect of) suffocating organization

Deleuze summary of Expressionism: play of light and darkness, with the mixture of the two producing an effect that suggests either falling into the black hole or ascending towards the light <-- *face* makes this affective power mobile

•(in Murnau) tableau --> frees the viewer for introspection regarding nature in a kind of emotional, spiritual release =/= close-up (disruptive pathos)
•(in Häxan) tableau --> grounds the uncontrollable forces at work on the faces of those confronted by the power of the witch (constituting a shot that is intensive =/= introspective)


Häxan film --> progressive unfolding of the material world through the style of a lecture
-exploration of the wonders and “errors” of the past (with near-messianic belief in the perfectibility of man)
magnified form of realist cinema + rooted in a naturalist impulse --> Christensen's witch is not only here now, it has always been here: “witch = a figure of nature”
-Häxan begins with woodcuts, drawings, and paintings that originate from *an act of touch* ==> haptic vision ==> to present figurative cliched givens ==> establish the ground
-seizes (the audience) and is seized (by the witch)
-seeing and touching *virtual beings* (such as devils)
--> rigorously logical structure + expressing the tangible singularity of the power of the witch

*(from) tales --to--> theology --to--> diagnosis*


“advancement” of natural knowledge <--> demonology


witch: a viral character


witch hunters's trial by water *is not a “trial” but rather an experiment* (to identify evidence of evil's presence---in the absence of direct unmotivated proof) --operating--> though a form of non-knowledge <-- mastery of nonsense
= ***a deep appreciation of (that might seem misguided to us):
•cause-and-effect relations
•forces at work in the natural world
(=/= indifference to the truth, retreat into superstition)
~
[these] cases suggestive of and empirically linked to general laws. the case said something about the world, and once a case was established, it would spread like a contagion (=/= proof of misogy or genocide as Federici asserts)



Flaherty ==> a certain truth regarding the total social environment : force of Nanook's life not only provides empirical evidence as to his mode of living but also allows for a refl ection on “nature”, “humanness”, “modernity” rooted in the haptic qualities of Flaherty's images

maleficium (of the witch --> palpable: destructive weather magic, assault of farm animals, sickness, unexplained death, etc.)

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

(early modern period -->) **satan = the principal authority of the natural world**, “master of the knowledge of natural properties and the techniques of their instrumentalization” =/= techniques of the healer =/= empirical instruments

(de Certeau observed that) every exercise of trained judgment is authorized through the [*]dark: ratifying force of theology
**dark forces --ratify--> all forms of natural expertise**

mastery of nonsense --driving--> confirming the suspicion of witchcraft = a form of non-knowledge ==opens==> a gap in knowing (specifically, ‘who’)


line of accusation that was quite common in the early modern period --> “the desperate search for the cause of what was other wise an unexplained illness or misfortune was frequently the catalyst for specific witchcraft accusations between friends, acquaintances, and often between family members themselves”
16th century --> this violence now bore the sanction of both secular and religious institutions (<== peasant complaints of maleficium زيان <== human beings have been suffering misfortune, illness, and death long before the power of the witch was felt during this time)

Dominican order --> aggressively promoting the cult of the virgin, to the status of the “perfect” woman {elevating the status of sexual neurosis to a virtue} =/= lustful credulous nature of common women (who were often associated with the temptations of Eve)


*conflicted status of women*
•in Häxan --through--> sternly patrilineal visual motifs (condescension + bemusement --> frail + hysterical)
•in ajayeb bestiary -->


(Häxan's) witch hunters act in accordance with their own procedures for investigating truth and falsehood and not simply out of malice, fear, or stupidity

the inquisitor priest/friar (within the realm of their own assumptions about the world) were dedicated to investigating and verifying the claims [of the accused witch) =/= (mainstream depiction of inquisitors as) gullible, fanatical, overtly misogynistic

(during the witch craze) **desire to believe =/= simple belief**
despite the unbelievable scope of demonic power, the inquisitors must believe that what the young maiden is reporting is possible


****important changes in the legal systems in europe well into the 14th century: proffering a formal indictment against another individual required the plaintiff to submit to an accusatory form of criminal procedure. (derived from Roman law) this procedure presumed such offenses as *matters between the accused and accuser* ==> the idea that “crime” was a matter between society and the accused did not exist (--> the presentday distinction between criminal and civil complaints meaningless)
raising a formal complaint required:
•the accuser to furnish proof of the allegation
•to submit to severe penalties agreed in advance if the judge was unconvinced of the complaint's merit
*it was complex, expensive, and very risky to enter into this formal framework in order to address disputes or everyday injustices* ==> most ordinary people did not do so, choosing instead to pursue local and less formal modes of redress

15th and 16th century --> this procedure changed dramatically (with the emergence of the witch in europe)
•witch was understood as an agent of satan
•responsibility of civil and religious authorities to protect pious christians (from a power that would overwhelm the faithful regardless of their individual acts, intentions, or beliefs)

inchoate suspicion (of the fearful, the resentful, the spiteful) --> reporting --> inquisitors (positioned as experts) --> take this suspicion forward administratively --> *impersonal sociological sense* (<-- an example of Weberian rationalization)

to suspect someone of maleficium was not new --✕--> (in witch accusations) authorities were now eager to act on suspicions in dependently


unresolved sexual desires + such passion would be redirected in pathological, perverse manner ==Häxan==> witch accusations

the film emphasizes the crucial role sex played in discerning what constituted witchcraft and its status as a knowable category of (malefic) human practice


a great deal of demonological thinking was devoted to justifying the fact that civil and Church officials, despite their fears, by and large were not bewitched


following satan's idiom...

Häxan's tortured relation to “the truth”
the question of empirical certainty and reenactment haunts the status of the film as evidence

*acting the ideal type breathes life into the emptied, cliched figure* :
•Christensenrelying on the fact that the truth of the witch will take its most visible form by acting her out mimetically (~= Christensen chooses to “play” satan using his idiom to breathe life into his witch)
•Flaherty knew that the visceral force of Nanook of the North depended on the felicity of his Inuit interlocutors reenacting themselves




Christensen seems to be offering a cure for the *secularized christian blindness* at the hea[...]