Before approaching the idea of “storytelling” that is at the center of Citton’s book, Mythocratie: Storytelling et Imaginaire de Gauche it is important to situate his position with respect to some of the dominant strands of Spinozism.
Friday, December 23, 2011
Saturday, December 10, 2011
This is not intended as a review of Communization and its Discontents. If I were to write a review of the book it would simply be: it is a good book, you should read it (hell, you can even downloaded it for free, so there is no excuse not to). This is intended instead as a series of provocations for further reflection.
Friday, December 02, 2011
"Horror consists in its always remaining the same—the persistence of 'pre-history'—but is realized as constantly different, unforeseen, exceeding all expectation, the faithful shadow of developing productive forces."—Theodor Adorno
I read somewhere, I do not remember where, that Richard Connell's The Most Dangerous Game is the most frequently filmed, and remade, story. The story, which was first made as a film in 1932, is so simple that it is more of a template for remakes than a story. A man, a hunter, is shipwrecked on an isolated island, where he encounters a even greater hunter, an aristocrat in self imposed exile. The aristocrat shows his new guest his estate, including his trophy room, and eventually proclaims his boredom with hunting. He has hunted all of the world's game, and has come to the conclusion that man is the most dangerous game, the only one that provides sport. The hunt then begins, the aristocrat, the great hunter pursuing the lesser hunter. The tables are eventually turned and the hunter becomes the prey (again). Like I said, it has been remade dozens of times, and has been used by countless tv shows. (of course in some variations the hunter is an alien, but the basic idea holds.)