File spoon-archives/film-theory.archive/film-theory_1995/film-theory_Jul.95, message 12


Date: Fri, 14 Jul 1995 01:07:35 -0400 (EDT)
From: Spoon Collective <spoons-AT-jefferson.village.Virginia.EDU>
Subject: RE: semiotic excess (fwd)




---------- Forwarded message ----------
Date: Thu, 13 Jul 1995 11:07:31 -0500 (CDT)
From: WSTERBA-AT-tiny.computing.csbsju.edu
To: film-theory-AT-jefferson.village.Virginia.EDU
Cc: WSTERBA-AT-tiny.computing.csbsju.edu
Subject: RE: semiotic excess


Hi,
I wanted to (perhaps) hep out with the question about excess.
Baudrillard talks about something somewhat similar (although
ultimately perhaps quite different) in Seduction in reference
to the transvestite. (Of course for Baudrillard this becoes
more real than real and thus something else.
On page 15 of Seduction he says:
"The irony of artificial practices: The peculiar ability of the
painted woman or prostitute to exaggerate her features, to turn them 
into more than a sign, and by this usage of, not the false as opposed
to the true, but the more false than false, to incarnate the peaks
of sexuality while simultaneously being absorbed in their simulation."
That whole chapter (The Ecliptic of Sex) is quite interesting
with regard to this topic - sorry I didn't end up quoting anything
about transvestites, but read the chapter... I apologize for
any typos I scratched my cornea and am typing one eyed today and
am amazed at how disjointed and poor in spatial judgement I currently
am!!)  Good luck!

Wendy Sterba


WSTERBA-AT-TINY.COMPUTING.CSBSJU.EDU  
Learn perfectly all that you learn, and 
Thereafter keep your conduct worthy of that learning./
Two are the eyes of those who truly live-
One is called numbers and the other letters.   Kural verse 391-392





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