Scott Lord

     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."

 

 

 

 

 

 

 

 

 

 

 

 

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

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