Scott Lord

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15 Sep 02:25

Scott Lord Silent Film: Silent Film Studio Tours, Life In Hollywood (Del...

by Scott Lord on Silent Film, Scott Lord on Mystery Film
The short subject weekly newsreel "Life in Hollywood" featured as extratextual discourse on the set introductions of actors and actresses that included silent film stars Aileen Pringle, Elinor Glyn, Madge Bellamy and Priscilla Dean.

Silent Film
Silent FIlm
15 Sep 02:25

Scott Lord Silent Film: The Female of the Species (D.W. Griffith, Biogra...

by Scott Lord on Silent Film, Scott Lord on Mystery Film
Actress appears with Dorothy Bernard and Charles West in "The Female of the Species", sirected by D.W. Griffith and photographed by G.W. Bitzer for the Biograph Film Company in 1912.
Silent Film
15 Sep 02:25

Silent Film Movie Posters: Comedy

by Scott Lord on Silent Film, Scott Lord on Mystery Film
The Haunted House
Silent FIlm Movie POsters
25 Jun 04:08

During Commercials, hint Reti Opening,

by noreply@blogger.com (Scott Lord on Silent Film, Scott Lord on Mystery Film)
fair use photo of game against Bot Scott Lord
25 Jun 04:08

During Commericals hint Reti Opening, Potato variation

by noreply@blogger.com (Scott Lord on Silent Film, Scott Lord on Mystery Film)

fair use photo of game against Bot
Scott Lord
25 Jun 04:08

Happy Thirteenth Anniversary, Donna

by noreply@blogger.com (Scott Lord on Silent Film, Scott Lord on Mystery Film)
Tommorow is our thirteenth Anniversary. I took Donna to lunch on Temple Street again to a restararaunt we go to once a month and decided to take a short cut across Boston Common and down Beacon Hill. Once a month I also aske her if she would like to visit the Old State House. Today, she passed the entrace to Massachusetts State House and asked if we could go inside. We've been to the Boston Antheneum, and there were marble statues inside the State House as well. She particularly like a statue of a nurse treating a wounded soldier (I have had a coronary bypass several years ago) and my favorite was of John Adams. Happy Anniversay Donna and Thank You for a wondeful date this afternoon.
25 Jun 04:07

Scott Lord: Silent Sherlock Holmes starring Ellie Norwood

by Scott Lord on Silent Film, Scott Lord on Mystery Film



please include this addtional feature


Scott Lord Silent Film
25 Jun 04:07

Mac Ahlberg (Bert Torn) with Marie Forsa

by Unknown
Justine and Juliette (Mac Ahlberg as Bert Torn, 1975) with Marie Forsa and Anne Bie Wargurg is more explicit than the films of exploitation and sexploitation. My copy is in Swedish and, whereas my first copy of Exposed (Exponerad, 1971) was entirely in Swedish, the earlier film contains only nudity without depicting the sexual act. The swith from Something Weird video to dvd has made some films unavailable to me.
The films screenplay was written by its director. There is the use of an expository retrospective voice over during exterior shots of Marie Forsa during exterior shots; the character being an omnicient she already knows the plotline's denoument. The technique could have been used more fully , near beautifully,had the film been more of a serious drama. The plot turns when Juliette brings Justine to a party, which becomes a quiet orgy. She is then introduced an older man, who brings her home with him and she is brought from liscentiousness to romance. The motif is underdeveloped by the film's levity- that Justine is decieved into a love affair is left as a plot gimmick rather than as a moral theme, but in that way the decadence is supported by its its own hedonist theme rather than a plot theme like The Rise and Fall of Susan Lennox where love is the morality.
The bedroom is darkened as he unfastens her bra and the director uses closeshots and superimposures to depict their making love. The voice over connects adjacent scenes, but the motif of sex in the darkness and erotic moviegoing in the darkness is subtle when connected with later scenes. Only through the tenderness of his lovemaking can the bedroom and movie theater (screening room) be connected thematiclly He photographs her nude of the beach and then, as spectator, screens the film in a projection room. During a dinner party, she undresses while, dancing, being shown nude in profile and over the shoulder. She uses voice over to explain that the two are in love and yet he is more intellectually concerned with dabating free love and morality-the open marriage. He then brings her to the projection room to screen one of his films, the camera cutting back and forth between a close shot of her as vouyer and explicit sex scenes on the screen- the direction is reversed one hundred and eighty degress, from screen to spectator. He underesses her from behind in the darkened room and makes love to her slowly from that position. The use of the vouyer is supradiegetic rather than infradiegetic and positions the subject as spectator.
There is an amazing slightly low angled close shot of her lifting her dress in a subsequent scene. her lover returns her to the orgy from the beginning of the film, where she appears with Juliette- she is now a woman.
Mac Ahlberg had photographed the Swedish film Cats (Kattorna, Henning Carlsen) in 1965.
Marie Forsa appeared in the Joseph Sarno films Veil of Blood, Girl Meets Girl (1974) and Butterflies.

Inga silent film
25 Jun 04:07

Sherlock Holmes- The Woman In Green (Roy William Neal)

by Scott Lord on Silent Film, Scott Lord on Mystery Film


Scott Lord SIlent FIlm Silent Film
25 Jun 04:07

Inga's Veil, Evening, erotic novel, film poem page four was updated

by Unknown


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From: scottlordnovel <noreply@google.com>
Date: Thu, Jun 23, 2011 at 11:37 AM
Subject: [scottlordnovel] Inga's Veil, Evening, erotic novel, film poem page four was updated
To: scottlordnovelist@gmail.com


Scott Lord updated the page Inga's Veil, Evening, erotic novel, film poem page four. View the changes below.

Color key: Insertion | Deletion


 
     Later in the film the image is reiterated by filming her body horizontally in more complicated set ups, her concupisciescence watched by the camera's technique of varying angle, her each movement, displayed as erotic form, being explored by the shadow perspective of depth as angles rather than object lines converge, the image  of the erotic love object repeated as being successive having qualities and attributes that, as graphic plasticity are comparative rather than multiple object relations within a linear plane, or multiple object representations within an abstract plane or multiple plane.
     There is unity to the scene that is organic in that she has been in love with him and that he is not presently in the room, 'unity as an artistic principle of perfect form if teleological as ideal, unity as interrelated beauty within unities of time. Similarly, there is a unity within the shot in that there is a lack of movement other than her body having just then truning, almost pirrouetting to almost find him there, only to be positioned as an embodiment of love, if not  an embodiment  of her love for an older man, love being embodied as aesthetic object desired for at distance, and yet only at distance, the syntagmatic alignment of what has value by being imaginary and or absent is constructed by her subjectivity being aware of what has been left as reference, left as mystery. He is with her as what is known between them, watching her as something transcendental in that he is a non-diegetic character symbolic of the contemplation of beauty, there being an internalization of their having had been being together, her form interrelated with the plotline as the object of fantasy and as fantasizing desire.
     "I don't feel the need to impose upon you other than that I feel like listening to you. You had mentioned earlier that you would be there. I needed to talk to you at the time but not about anything specific."
     "Whereas?"
     "In particular, I'm thinking of looking at you and would like it if everything else could wait."
      She thought, pausing longer that it had when they had had the conversation, there being a temporal position within the scene to the voice-over that is contingent upon her movements and those of the camera,  "I was really about to say, 'Intuitively?', next."
     As it is still early in the, she is mostly a mystery to the film viewer as a female narrative fantasy, the camera watching her continuously during the length of the shot; then again as to create an ideal conception that every possible angle could be filmed at anytime where the duration would be arbitrary the camera watching her only on the authority of her being fantasy and only as authorial when poisitioned where she as fantasized about can be filmed, any interrelated spatial context has still been momentarily left offscreen. What interpellates an identification with the inscription of her subjective desire is that her nude image is as cinematic spectacle, if and when cinematic spectacle, the erotic appropriated and made increasingly available with structrues of the film that are not only those of aesthetic content, but those of erogenous attraction, the visual dimensions articulated within the film being as a zone of passion, or a zone of love felt intensely enough it can be lived for without passion so as to go beyond it as into devotion. Although the retrospective voice over is kept in the film, it can still only be inferrred as to whether she had seen him earlier or whether he had telephoned her earlier, the being a continuity script that includes both that she had had breakfast with him and that she had often been thinking of when they had been together more than a week before, the retrospective voice over narratives intertwined within the film; its is as voice over addressing the spectator directly, but only as being at a juncture of plot events. In one copy of the continuity script had been several instances of her interior monolouge jotted down in the margins, written in pen, including the quote accompanying this series of shots, "More intriguing than I had first tought.", which in no way appears in the rushes of the film and is out of sequence.
     As a protagonist, in so much as the development of the film is centered around her search for vale as poetic prior to religious or moral, she is complete for the viewer as a discursive agency and as the fantasy object of desire in soliloquy- it is only slowly that the film-viewer relation develops into an unfolding of her physically seeking sexual gratification, it is only slowly that the film enters into narrative scenes that contain erotic resolution of plot as immediate climactic experiences, as either concievably orgasmic clitorally, near orgasmic as auto-erotic or while reluctantantly auto-erotic on her part, the reluctant writhing and caress of postponing female onanism on her part as hours collapse into minutes, or as lesbian fantasy, lesbian indulgence, concievably brought to plateau as the nude is cleanesed by the look of the other and the accompanying lesbian subject positioning constructed around any involvement with her or with her and her lover, whether sexual or only romantic and intellectual. There is an instance during one of their conversations later in the narrative where she asks him, "Is it not that ideas can often carrry emotion?" After either he waits to answer or only responds silently by not saying anything, she adds a second question, "Emotion at first thought complete, although fleeting."
     Her qualities and attributes are still left to be divulvged within the film's becoming increasingly intimate, if not through the mood of the scene; with spectatorial distance, an aesthetic interest is developed from the need to feel the sensations of objectified pleasure to a deepened attraction to the object mysteriously still ever beautiful. What is to seem suprising in the film to the viewer comparing herself to the protagonist as a speaking or non-speaking subject  through the look while the absent-narrator imparts what is absent and or lacking to her is as of yet only felt by their both being perceptive, by both character and viewer being intuitive, and in being perceptive their being levels of shared erotic fantasy within the layers of being observant.
     The narrative-spatial dimensions of the scene consist of adjacent spaces that include those that have not yet been explored as looked at and omnly then having become as her subjectivity in its interplay of address and reception with the omniscient authorial. Her glance an erotic metaphor, inscribed textually  as the glance given by the feminine nude body by there being a heightening interest in how and when her sexual fascination pursues and achieves gratification throughout the erotic core of the narrative, telescoped , if not passively as a combining of the desiring gaze in a thematic substructure with pleasure fantasy and female lonliness into later shot reverse shot, offline reverse angle dialougue scenes, then stanzaiclly foreshadowed into either shots of her telephoning from other than the desk, or into nude, overhead shots of her in the bedroom during multiple angle  scenes, each of those showing her decision to either keep her telephone on the dresser  or bureau or to keep it nearer to the bedside, each instance of the camera cutting to either a nude over head strait on shot of her while on her back, or nude over head over the shoulder shot of her on  her stomach, perhaps orgasming, perhaps during massage, a withheld variation of the reiterated motif, and as further or layered variation, the angles being held from different camera distances, her facial expressions to whisper in nuances of acknowledgement, and or disbelief, centered around lubrication and release, if only the release of fantasy.
     Her gaze froms an excess within any interchange of subjectivitities in that she is still the only on screen character, and if it is only an appreciation of her beuaty bu him, it forms an excess as being unseen by him and felt by her as seen while unseen, the subjective transactions of desire the object of a present tense voyeurism. The viewer can only be introduced to subjects by the actress being aware of them and by her making the viewer aware of them, so as to compare her relationship to them as poetic truth, within her eyeline there being a sensibiltiy that while not entirely directing the female viewer to any excess of detail or significance, a a subjective close shot  would, introduces a unity that is narrative in her being presented as visual motif, and as an individual, if not entirely solitary, motif, as an embodiment of her being beuatiful while percieving romantic beauty, an objectification of her having sexual emotion and emotion that can deepen and that after having become exhilerated into nearly more rapid breathing, would only soften, would only then moisten. It being within introspective narrative that each event is transposed, the modality of exposition and exhibition allows an emotional structuring to the scene.
     It can be remembered that during the first scene of the film there are only insert shots that can be distinguished as transpiring during the same scene and are non-disruptive to its thematic integrity despite how abruptly the camera cuts back to her crossing the room, it being implicational that she is thinking of the action in the flash forward shots, it yet to have taken place. The film has not yet shown retrospective shots that clearly from their subject and its associations are shots contained within a flashforwarded series of shots but within the diegetic spatial-temporal continuum in fact are to be from before the film's opening sequence, their having been had been being inserted into the flashforwarded series shots, so as to place Winter New Year, Winter New Year, then Summer, then Spring, then Summer, then Winter New Year, then Winter New Year, then Spring and continuing with Spring to Summer. There is a cutback within a flashforward midway through the film.
 
 


 
 
 
 
 

Complimenary Movie

 


Complimentary Movie








Go to page: Inga's Veil, Evening, erotic novel, film poem page four


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Scott Lord

25 Jun 04:07

Inga's Veil, Evening erotic novel, film poem page five was updated

by Unknown


---------- Forwarded message ----------
From: scottlordnovel <noreply@google.com>
Date: Wed, Mar 16, 2011 at 2:39 PM
Subject: [scottlordnovel] Inga's Veil, Evening erotic novel, film poem page five was updated
To: scottlordnovelist@gmail.com


Scott Lord updated the page Inga's Veil, Evening erotic novel, film poem page five. View the changes below.

Color key: Insertion | Deletion

     Within the syntax of the film, the camera pans down, not solemly, or dolefully, but very slowly as though reserved, as though it could contruct a way to be seen by her, lavishing its downward plunge upon her stillness waiting for her figure to elegantly, almost thoughtfully, vary its postition and it being to no avail in that if she were to be seen in movement it would not be by a camera she could acknowlege having seen, it now a camera reluctant to release her glance as she remained unaware of its vigilance, it as though paradoxical it being that she was waiting for him, waiting to be seen by him, that she felt watched by him while waiting, that she longed for it, in supplication that she be watched by him, that, with her body, she articulated the desire to be watched by him, the desire of it as an inevitability. Now that she has undressed, the sense of expectation has shifted from the attraction of her becoming nude, no matter how quickly, to a dialouge that rather than only having the possiblility of adding to plotline, in being interior monolouge and retrospective narrative, it now carrying it, the camera not only authorial in its movement, but also in its editing and its editing for narrative effect in that the romantic becomes erotic suspence as the scenes are interwoven thematiclly, as her desire becomes increasingly romantic. Erotic availability has opened as a prefiguration of an enlightenment, as though she were seeking a path to sexual reawakenings only to reaquaint herself with their stirrings. And yet, as speaking subject that conveys both the imaginary and the imagined, her astonishment at her own desire can only be sensed, it belonging to her inner life, it being an astonishement that would only intensify, a a freeing of sexual liscence, a personalization of the ideals of femininity.
     On film, her body pivoted again during the shot, slowly and slightly toward the camera. The bottom of the frameline gradually lowers before cutting to its reverse angle to begin the pan over from below her breasts  to below her omphalos, as though it were trying to hover from her bellybutton to the top horizon line of where her pubic hair began without noticebly pushing in to simultaneously zoom or without privoting into a prolonged circular pan, which it then unexpectedly does untill bringing the shot to where it could cut to its original frameline and begin panning down again from below her breasts. Temporally it is a double filming, or reframing, of the same moment while spatially it is the same action from another angle, a duplicate from another vantage point.
     Her screen direction as figure in movement, in that she has not yet decided to retrace her steps, has established spatial positions in relation, relations not entirely angular, relations not entirely undecided upon by the speed of action and the theatrical pauses on her part before her beginning to cross the set toward the camera. As there is similarity of metaphor, contiguity of metronomy, the possible absence of her reversing screen direction during the scene brings a right to left continuity, although she soon will be to the left of the screen where it seems likely that she will cross one quarter of the width of the screen to the left.
     At that moment, she was thinking of a particular afternoon when she had ran up to him flustered, not lachrymal, but near speachless, and yet to contrast, she was simultaneously remembering an earlier, less excited time when the two had first met, when she may have been looking down at her feet trying to make him notice her legs, the curve of her blue jeans where her hemline would have been, it in comparision having been being a more exhilarating time although she had been coolly at his shoulder, nearing him slowly in calculated motion, there having been something she had wanted to tell him. The voice over retrospective used on screen positions dimension with her nudity, her hurriedly having said, "I don't know what to do. I know that you're going to say, 'I love you.'"
     Could it be asked if there was some reason he had not yet either arrived or yet telephoned, or whether she was going to meet him somewhere later, seemingly, but not necessarily, that being not untill breakfast the next morning?
     The line of dialouge is used in variation during the second scene of the film during the shot-counter-shot dialougue sequences, her lover referring to the conversation by his saying, "Everytime you ask me to I will." to which she replies, "Hurry." as to intentionally remind him of their having been together.
     The camera presently pans up slightly faster than the previous shot for half the distance of the height of the shot, untill the bottom of the frame replaces the horizontal center of the shot. Her thoughts flirt with remembering what he had said on several specific, particular occasions and flirt back and forth between her preference to avoid fantasizing about what they hadn't said to each her, it being casual on her part that she would shrug erotic fantasies off almost as quickly as the came and convince herself that it was more romantic to keep her interaction with him a sentimental, therefore more accurate quickening of memory, and between what she would want to say to him the next time they would see each other, not like he would as though it almost were similar to it being necessary to save a planned shot in a game of pool or billiards and or anticipating his next move after nearly opening with the knight in hope of quickly bringing it back toward the queen, but more in a sense of her know to herself that could be inquired about by him that could create their being together simultaneously, in that he was someone she thought she couldn't know but did. She was as of yet unaware that he rarely still played either, and had almost vowed, if not arbitrarily, not to show her the cradling of a pinball, knowing that he would tire of it after she had seen it and that other things that could now seem more sacred, or more part of his acting out of devotion to her, could belong to the present, and that they were  only similar as experience in being from experience, that there was a seriousness that had been quieted, a need to continue. The knight was near enough to the queen for him to dismiss wanting to play. Whether or not his voice is used in the film, it is in juxtaposition to the camera panning up, but only because she has every desire that it would be, that it is something that later collapses and something that makes her desire that things happen faster, that whatever could be watching her when as nudity increase it speed smoothly, "Including being a sentence with this part of speech, had you said including. I need you."
     There is an orientation of space as erotic spontaneity and as erotic aquiescence as the camera waits to accomaodate her each and every movement. The soft flesh of the oval of the inside of her thighs is only hinted at within the shot. The areas lof her body that tare followed by the viewfinder within the frameline are contiguous, as are the spaces through which she moves. There is a mobility of frame from the panning, the specator positioned by the continuity of form to the individual images and spaces not only untill the camera begins tracking during the shot, but later with each difference of angle and distance as it is following her, whether its movemnts are obtrusive or not whether they are imperceptible or not. It holds briefly, almost out of necessity during another abrupt inclusion of a retrospective voice over narrative: within its autonomy, it is almost questioning and yet, in that she has not spoken during the entire scene, the effect of each instance of sound being a break from the silence is different than it will later be when she finally brings it into the development of the scene's plot, whether it is her making a telephone call or her going to the door in her bathrobe to greet him after he has let himself in, if in fact she is not in fact nude in bed, or in the shower when he arrives. In that the voice overs are non-diegetic, they are placed within the editing arbitrarily and have a specific effect aestheticly that is not contingent upon the action of the scene, but rather the director's editing. The sounds used in the film to this point are minimal, objects seperated from her touch by the spaces between her and them.
     "It's only a cough drop. I wanted to kiss you and don't like menthol or peppermint."
     "A coughdrop?", her tone being that of suprise. "I wouldn't have thought of that. You talked me into it."
 
 

YouTube Video

 
 
 
 
 
 
 
 
 
 

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25 Jun 04:07

Boston skyline from Donna’s Cambridge terrace,...

by Unknown


Scott Lord
25 Jun 04:07

Scott Lord Mystery: Dr Jekyll and Mr Hyde 1913

by Scott Lord on Silent Film, Scott Lord on Mystery Film




Scott Lord silent film
25 Jun 04:07

Sherlock Holmes Trailers-Pearl of Death

by Scott Lord on Silent Film, Scott Lord on Mystery Film



Silent FIlm silent film
25 Jun 04:07

The Cat and the Canary (1927)

by Unknown


25 Jun 04:07

The Cat and the Canary (1927)

by Unknown


Silent Film
25 Jun 04:07

The Strand Magazine, December 1893

by Scott Lord on Silent Film, Scott Lord on Mystery Film
The Strand Magazine, No. 36









silent film silent film
25 Jun 04:06

Universal Sherlock Holmes Trailers

by Scott Lord on Silent Film, Scott Lord on Mystery Film


Scott Lord

SILENT FILM


25 Jun 04:06

Fay Wray in The Evil Mind

by Unknown

silent film
25 Jun 04:06

Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem was updated

by Unknown


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From: scottlordnovel <noreply@google.com>
Date: Thu, Jun 23, 2011 at 11:31 AM
Subject: [scottlordnovel] Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem was updated
To: scottlordnovelist@gmail.com


Scott Lord updated the page Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem. View the changes below.

Color key: Insertion | Deletion

   

Wife in Mirror, 1966 by William Stilson
     The painted was kept in a gallery on Bearskin Kneck when the present author lived there. She is, for the most part, "the real Inga", though only a painting.



      She is the only direct subject of the first scene of the film: there is the use of voice over narrative and flashforward. In the opening shot she is seen in mediuum full shot, her having finished her correspondence. Depending upon what hour she had begun, there previously had been added to that an infrequent journal entry in epistolary form addressed to her lover more often than not rather than to herself. Despite its seeming to be too early in the evening, she appears to be putting a manuscript into the top drawer of her desk, which she closes with her right hand. If it can be said that as an actress she will be drifting and that her instructions are to dress off to the right of her chair, on film the sequence is an on camera turn-her directions to sit into the set have been precluded in that later within the scene there is the use of retrospective narrative cut in shots of her sitting at the desk from within a half hour of her having risen from her chair, the camera intriguing the spectator by suprisingly creating a voyouerism within discourse throught its third person omniscient voice, the transdiegetic aspect of its having omniprescence being temporal rather than spatial as it returns to a cutback shot in the present tense.
     There is a cup of coffee on the desk, the height of which is  above her knees while below her stomach. At first, the tight closeups, close ups and medium close shots are lensed from behind the desk, from a vantage point not thought possible for the camera to acquire, as though there were  physically no wall behind it, much like a three wall set, whereas the medium shots are near to being filmed over the shoulder and in three quarter profile. Near to the right of the chair, she has already skimmed the contents of the drawer before closing it and has brought her glance to the horizontal plane, the subjective high angle withheld from the film as she is to lower her view to reassure herself that the objects on the desk are neatly placed, her not necessarily imediately having noticed the telephone having had been being now more to the left within the square created by what is either a computer or a television with a digital video recorder within the  polished wooden rectangle . The script given to the actress includes description as to whether or not there is an object on the desk that ostensibly belongs to him, it appearing during the course of the scene that there is the disclosure that they could more than live together or that they were seeing each other frequently. The script has also withheld information from the actress untill shooting. If one or more of the items are his, they could include a gift that she had brought back as a present still waiting for him or older articles they had acquired together, the emotional content of the spatial object  within the filmed frame subject to the look and actions of the character.
     Were the films use of multiple cameras to include her surveying the desk, watching her eyes would have relayed a sentimental look in her having accomplished having written the particular letter or poem and in their sense of immediacy and yet there is an urgency that has concluded or transformed, something indicative of her being unfailiar with a newly felt emotion, one different than she previously had concieved it would be were she to ever experience it. As she slowly, only gradually lowers her eyelids, it is not according to a personal, solipstic fascination, but more so her lips are only slightly apart, her having ostensibly precluded opening them any wider as her unspoken response to something she had remembered his having said and would not allow herself to answer, to quote or to reiterate, she herself only having heard it said only once, only by him on that occaision, it cloistered within her memory-laden femininity as she looked to him to kiss her eyelids again. There was now a smoothness, or ease to her movements, one in part self acknowledgement, there being a look of introspective holiness, or spiritual beauty derived from that which is known intimately, and known as being particularly singular or unique to her own experience; there is a sensuality to her being in reflection and yet her herself being an an emotive image as a softness impinged her sensibility and her sensibility of self awareness. Within the transcription of her moving image into the dramaturgical significance it would acquire positioned within the linear visual plotline, projected onto, and or projected for the ideal viewer of an implied or disembodied spectator is her solitude projected as not only a mobilized gaze, but as an act of prayer that can be taken as a metaphor for what not only would be tacit between them when they later would meet, but also for her present need to speak to him at that moment- female desire as transcendental. It is discernable, before viewing the retrospective interdiegetic shots of her penning what she had only then finished writing, that it may hvae been only after her having recieved, or found, an earlier letter of his, or a volume of poetry on the shelf in which he had written something in the margins and had telephoned her about in hope she would have time to thumb through the book to find it.  Was it that belief, and accordingly beauty, was the desire for union with something that found the fondness of appreciation?
    "I can't say a word on this telephone untill your finished telling me everything."
     "Why did you stop using words while we were making love?"
     The shot at present is stationary. An as objectification of pleasure, her body, and any beauty inherent within  the erotic object as a quality and its accompanying position of belief as the desire for a transcendental love and ideal beauty, in its femininity is beauty as is modified, her nudity and its foreshadowing of its possible later reoccurrence in the film beuaty that as an objectification of pleasure takes action rather than being only transitory, beauty as perpetual, truth, searched for as being absolute, held by her spontaneity; as an aethetic continuum there is a sensuality to the narrative-spatial dimensions of the scene in which its motifs are encased as she is the center of the vertical composition, the spatial planes of the room limited to the vertical frameline untill divulged by her horizontal movement.
     Within the spectatorial address or any consequent objectification of spectatorial pleasure or desire, including viewer identification as desire for an erotic subjectivity as erotic object, the sequence, itself designed as thematicly autonomous, is not an autonomous single shot in that there is a cutting for continuity that includes reframings and cutting to similar angles. There is a thematic unity of context within the interframe narrative that, in being centered around her and her movement, her movement and or action theatrical space in relation to object positions that within their spatial proximity to her and within their spatial contiguity to each other are measured by linear perspective as non-moving height or width, is becoming increasingly interested in her.
     Within narrative as a mode of address, the viewer is not only interpellated but reproduced, transmogrified or reconfigured, as subject and, within a unfied ideal spectatorial position is brought into a suture pattern of characterization, there being a suture pattern to identification, an appearance dissappearance within the relationship of protagonist observer, an absence presence of emotion, the emotion involved in reception, each relsolution of narrative action holding a lack of closure in the presence and absence of future event, particularly in that the view has constructed an imaginary eroticism which is either supported by the object of fantasy, or brought to a greater excitement than that which the viewer had been looking forward to while waiting. There is, casually, an erotic relationship of hers, whether erotic action or fantasy, contained in what she is doing that becomes seemingly more singular, which at first seems almost ordinary, the viewer only omniscient in that the left shot is left as imaginary and as being among the possible movements she could make within the limited space of the frame, and then in turn, within each framing, there being a diegetic logic of the erotic, there a suture relationship between the camera's decisions and selections, the individual's agency,or fate, or urgency within her particular position in the narratvie core and the viewer as fantasisizing desire to act as protagonist while vouyer.  As to create a shot to shot contrast of spatial configuration, the spatial distance she is kept from the camera and each object brings a diegetic connontation that the action of the scene is her desire, or her desire to transcend sexual gratification. There is a discursive organization to the contiguous images that lends them a figurative context, a cutting for emotional effect with legnthy static shots  that bring to poin her meditations and continuous shots of varying, yet measurably comparable, duration; each reframing a perspectival acknowledgement of each slight purient motion on her part and each decision as to how long they are to continue, the suprise of the nymph elapsed; each a deigetic reference to each postition her body acquires to create spatial temporality while creating vanishing points with off-screen space that had previously been onscreen and with space eroticlly hidden inhabited by the image in the shot to follow;each a reference to her moving without being as near to him as she could be.
 
 

YouTube Video erotic trailer written in between revisions




An Erotic Trailer Reel Two Scott Lord





 
 
 
 

Go to page: Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem


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Scott Lord

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