L'histoire inspirante de l'homme qui fit le tour du monde À QUATRE PATTES, pour le changement, pour l'espoir, pour ses convictions, pour l'Humanité toute entière.
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L'avis de l'expert en cinéma européen Richard S., sur cette œuvre majuscule :
If I understand the film correctly, it posits an interplay between the "traditional" mimetic concrete hermeneutics of art -- film, sculpture, etc. -- and a dialectic mechanism premised on a debauched representational functional gap, as typified by the construction of a phenomenological hegemony of hysteria, bounded by the general milieu of unease; but, this representational meme is also defined by, and simultaneously rendered meaningless by, the inertia of syncopes belonging to one or more non-traditional corpuses of utterance. And that's what I thought was really cool about the film.
Because, by this logical contruct, and through the elimination of repeatable and therefore irrelevant intervening contexts, abstract guarantors are simultaneously affirmed and undermined, the man walks on all fours, and, whether viewed naturally or synthetically, an inverse cognitive mediation between the social construction of the signifier and the hyperrepresentationality of the signified (outside iterable dimensions of intelligible categorization, of course), is established according to a heuristic paradigm of interpretation; but, with regard to the relation between sycophantic sets of interplay and "non-traditional" forms of acrimonious and/or unintelligible movement, this overarching phenomenological milieu posits an aesthetic basis for semigrammaticalness; thus opening the way to a rhetorical mechanism that is both dialectically formative and aesthetically dominant and revolutionary.
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