This chapter begins by detailing how the negativity that was framed conceptually and philosophically in Chapter 1 makes itself felt through the formal, stylistic and aesthetic seams of Persona and Two or Three Things. Following an examination of the role of authorship and ‘auto-critique’ in this process, I address negativity’s role in the very particular and ‘autonomous’ presentations of the moving image offered in these two films and the difficult but very rewarding relationships forged between on-screen and spectatorial bodies. The chapter then brings Part I of this book to a close by asking what kinds of bodies, faces, and subjects these ontologically violent films ultimately leave us with in light of the negative impression.
KeywordsNegative Impression Iconic Image Political Modernism Contemporary History Formal Violence
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