Inga's Veil, Evening page three

  Her contour having begun its crossing the solitude of the set, the slope or lift of her breasts can in part be seen by the camera as she flirts with being in one eight one quarter profile. Her nipples are presently concealed by her blouse, which is open. She is then briefly held in half profile facing the left edge of the prame before pivoting her shoulders and spinning to face the right edge of the frame and moving her right leg backward, what she was wearing then sliding off down her right lowered shoulder and down her right arm, her then returning to an earlier quarter profile half profile. As study of her beuaty the compostion is prolonged, but only after a cut to a medium close shot of her now nude shoulder framed so that her body is no longer to the center of the frame, but divided nearly in half by the left vertical frameline. Most of the light being from above, the diagnal her body creates is in the opposite direction from the bottom left hand corner of the screen. The overhead light is primarily the high key and there is something that could be a lamp primarily as the modelling light and fill light. The shot pans down in an obligatory way, not only as the presence of an absent, unseen narrative agency, but an awareness of her teettertottering the subjectivity of her lover as being non-diegetic with each repetition of her flesh as narrative motif as casual agency romanticly, there the discourse of their later being together with each articulation of its smoothness as a visual dramatic value of the plotline; the coincidence apparitions of a silent swan in the arcane reflection of a floating white rose, it is as though there is spot of pleasur hidden, or not quite hidden from view, if a diaphaneity, one only in vibration or in wave shimmer, of rainbow ectasy inches below the surface of an inundated lake as of yet unawakened into flight by the convergences of a fountain.
    As subject to the aesthetics of image, as particularly structured in movement, that including the metaphors centered around it, in relation to objects primarily static, it is not as an image of worship, but as as an image that is worsphip that she is posited; an aesthetic of sensations, value an interest in the contemplated image, if not into the poetic of a serene erotic where it can be worshipped or included within an devotion of worship, as she discloses, divulges, her solitude as being more symbolic of the act of projection through prayer, and it the erotic act, its a metaphoric image that is extradiegetic in being extended as a referent to what would later inordinately be tacit between them when they were to meet again and become only more intricate each time the would see each other, there from that an identification with feelings the characters have yet to feel, as the individidual scene is a dramatic backcloth for events where they will only be felt more intensely. In the present tense her nudity becomes the need to desire while the past becomes a contemplated aesthetic object with a subjective teleological fantasy image. 
     The camera does not presently allude to when she asked him to massage her or when he may have been staring at her kneck almost near enough to begin kissing her toward its nape, his then holing his mouth on one place below her shoulder, but above the middle of her back for as long as permissible before continuting. Nor deos the camera independently explore all the sections of the room that are in our view or can be viewed at any given moment were she to cast  her glance to them. In that during the later tracking shot and during the slow in slow out shots that, derived from the tracking shot are not kept in the theatrical print of the film in regard to the current scene, whether or not they appear midfilm or later, she is on screen looking into areas of the room left unseen to the female specatator. In addition to that, there are sections of the room nearly overlooked by the actress that remainas available space and that may not be subject to the cursory glance of the camera. The spectator has authorized an erotic  silence during the identification with her as being an erogenous space as contour and simultaneuously with that space being filled by her within its romatic context, the erogenous object while remaining contained within the erogenous space of the entire frame, it waiting upon her, she herself through movement not having brought the other objects as to where they would have having had been being presented within the shot space, it only being as the shot series progresses that she as an autonomous figure, as nubile carnality, one that unifies the spatial orientation with the relation between viewer and narrator, moves in front of what is concievably a small lamp, it possibly being on a small end table, bringing camera and actress into an authorial unison.
     There is presently nothing in between her and  the camera, the foreground of the shot being empty.  Within the stillness of  the particular evening her flesh is now softly dimensional, one continuous contour filling the screen in the visual femininity
 of her slow swirl, voluptuous planes of light upon figure curving  in the shapes of white and in the shapes of white colour; there develops a  unity of mood, if a necessarily passive unity of her being positioned as intraframe subject onscreen, complemented by her being positioned as object during the voice over narrative. At present the retrospective voice over narrative of her lover's voice is one of several not used in the early scenes of the film when seen in the screened print, some of the voice over shot revised extensively for use in a later bedroom room scene, the retakes still following the narrative line only there being a greater complexity of its articulation. The telephone has not yet rung during the scene, although it may have earlier. There is the relation of deixis between the retrospective voice over and the as of yet unmade, and or, previously made telephone call, their both being linguistic, the latter possibly including either of the two, briefly, as though humming with lips tightly closed, either allowing the other to speak, or feel the need to kiss by communicating the desire to, his  without asking if she were about to close her eyes waiting and only listening. The filmic enunciation of her subjectivity is one of his having addressed her, their having addressed each other.
     "I could call you later to ask how you are."
     "I could have said,' You only need say good night," she thought. "He didn't want to carry the conversation."
     The specatator voyuer can now only feel her presence as pulchritude that is complete. undetracted by the style and fit of her night shirt, the line of her body uninterrupted while a recessed plane delineates the oval roundness of her calves, flittering along the inside of her thighs with gossamer blues, along her waist, hips and stomach as though a motif reiterated within the frame during the shot untill the sensual nuances create with the positioning of an invisible observer a contemporaneous supradiegetic eroticism, that of either fantasy events that do not appear in the screening room final version of the print, or that of the events surmised that belong to the film's sexual denoument, the viewer interpellated in the proairetic code as it centers the present tense around her expectations as the camera languishes along her lower back, along her forearms, the upper middle of her back and along the bottom curve of her breasts.

Complimentary Movie


Scott Lord,
Aug 28, 2012, 2:41 PM