The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The first twelve volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, Cinema, and Weaponized Architecture. As new articles are published on The Funambulist, more volumes will be published to continue the series. See all published pamphlets HERE.The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings.Vol. 11 is devoted to the topic of Cinema: Spike Lee, Bela Tarr, Michelangelo Antonioni and the many other filmmakers named in this volume do not seem to have much in common at first sight
nevertheless, considered through the interpretation of a Spinozist materialist philosophy, their films might have something to say to one another. Take the mud of Red Desert (Antonioni), the volcanic slopes of The Bad Sleep Well (Kurosawa) and the soil of Pina Bausch's Rite of Spring magnified in Pina (Wenders), for example. What these material manifestations have in common is that they are all in relation with bodies, themselves assemblages of moving matter. Similarly, consider Spike Lee's dolly shot, Orson Welles's labyrinth, Bela Tarr's entropy, and Peter Watkins's democratic improvisations: they all manifest the power of immanence and its inexorability. These films involve no deus ex machina
everything in them comes 'from the ground' in a continuous refusal of a celestial or other form of transcendence. Developing this kind of reading of these films allows us to avoid a traditional chronological reading of history of cinema in favor of another, one more dedicated to the philosophical vision of the world that cinema triggers.