In an era ruled by materialism and unstable geopolitics, art must be restored to the center of public education.
Camille PagliaRead
Cinema is the culmination of the obsessive, mechanistic male drive in western culture. The movie projector is an Apollonian straight-shooter, demonstrating the link between aggression and art. Every pictorial framing is a ritual limitation, a barred precinct.
Interpretation
The quote reflects on how cinema embodies a particular masculine drive within Western culture, linking aggression to artistic expression.
Camille Paglia's quote suggests that cinema represents an obsessive and mechanistic aspect of male energy in Western society. By describing the movie projector as an 'Apollonian straight-shooter,' she highlights how cinema channels aggression through structured artistic framing, which can be seen as both a limitation and a form of ritualistic expression that shapes our perception of art.
In practice
This quote can be used in an academic discussion about the role of gender in cinema studies.
In an era ruled by materialism and unstable geopolitics, art must be restored to the center of public education.
Every month, it is woman's fate to face the abyss of time and being, the abyss which is herself.
Serial or sex murder, like fetishism, is a perversion of male intelligence. It is a criminal abstraction, masculine in its deranged egotism and orderliness. It is the asocial equivalent of philosophy, mathematics, and music. There is no female Mozart because there is no female Jack the Ripper.
The male orientation of classical Athens was inseparable from its genius. Athens became great not despite but because of its misogyny.
We should teach general ethics to both men and women, but sexual relationships themselves must not be policed. Sex, like the city streets, would be risk-free only in totalitarian regimes.
Popular culture is the new Babylon, into which so much art and intellect now flow. It is our imperial sex theater, supreme temple of the western eye. We live in the age of idols. The pagan past, never dead, flames again in our mystic hierarchies of stardom.
I like things that don't sound particularly processed or mechanical or made by machines. I like music that contains human elements, with all their flaws. There's air in it, and you can hear a room of a bunch of guys playing. Those are the magic parts.
I never finished the 'Large Glass' because, after working on it for eight years, I probably got interested in something else; also, I was tired. It may be that, subconsciously, I never intended to finish it because the word 'finish' implies an acceptance of traditional methods and all the paraphernalia that accompany them.
The Singaporean speculative tradition is different. Singapore doesn't conceive itself as the centre of the world or the one country that's going to save the world, so there's a different tone that comes out in the way speculative fiction is done. That's refreshing to read.
I just want different narratives for people of color, especially women of color. I just want something that's different. I don't want us to be put in a box. I want it to be kind of a redefinition of who were are. If I can even achieve that in a tiny way, I'll be good. I'll be good.
When I see an artist whose work I like at a party - I'm old now, so I can do this - I go right over and tell them how much I like their work. Instantly, I'm on their side. The act of saying it takes away the competition. The act of saying it makes me not hate them anymore, because they're good.
I don't like to make strong statements. I want to write strong novels... I keep my deep, radical things for my novels.
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