In representational films sometimes the image affirms its own presence as image, graphic entity, but most often it serves as vehicle to a photo-recorded event. Traditional and established avant-garde film teaches film to be an image, a representing. But film is a real thing and as a real thing it is not imitation. It does not reflect on life, it embodies the life of the mind. It is not a vehicle for ideas or portrayals of emotion outside of its own existence as emoted idea. Film is a variable intensity of light, an internal balance of time, a movement within a given space.
Ernie Gehr, January 1971
And that is cinema, its future, that time silenced of images, that heroic time, poetic, that time of childhood, where we can all be transported to by the sole force of desire through the body and its stories. And eyes wide open in the dark, and it scares us so much, so much, but also we laugh we cry, and it has held us, breathless, in front of this big face with sealed eyes and with the heart knocking against our chest, we have run along the way, and we have cried out from the dunes: “Johannes…”, and we have waited, and hoped, so much, and against the wind, and against the great cloudy sky, shouted again, with him, with the father, “Johannes…Johannes…” and for a moment we have become, without knowing how, that father looking for his child, his lost son, and then that trampled grass and then the entire moor. That is cinema. Its destiny, its future, is to stand, unfailingly, before the world, to its eternal return, facing the high noon, to the sacred “yes” of the child.
Philippe Grandrieux, About the “insane horizon” of cinema
No one likes to recognize himself as a stranger in a mirror where what he sees is not his own double but someone whom he would have liked to have been.
Maurice Blanchot, “Michel Foucault As I Imagine Him”
Benjamin, qui a poursuivi toute sa vie le projet d’écrire une œuvre composée exclusivement de citations, avait compris que l’autorité convoquée par la citation se fonde précisément sur la destruction de l’autorité qui est attribuée à un texte donné par sa situation dans l’histoire de la culture : sa charge de vérité est fonction du caractère unique de son apparition hors de son contexte vivant dans ce que Benjamin appelle, dans l’une des Thèses sur la philosophie de l’Histoire, “une citation à l’ordre du jour”, au jour du Jugement Dernier. Le passé ne se laisse fixer que dans l’image qui apparaît une fois pour toutes dans l’instant de son extranéation, tout comme un souvenir surgit soudain dans un moment de danger.
Giorgio Agamben, L’homme sans contenu, Circé, Traduit de l’italien par Carole Walter, 1996, p. 138.