Book contents
- Frontmatter
- Contents
- Acknowledgements
- Introduction
- Part I Figurative Economies
- Part II Adventures of the Classical Body in Modern Cinema
- Part III New Abstractions in Figurative Invention
- Part IV Summonses: Figures of the Actor
- Part V Image Circuits
- Part VI Theoretical Invention
- Epilogue: The Accident
- Bibliography
- Index
Chapter 16 - Thirst: Barbara Loden's Wanda
Published online by Cambridge University Press: 28 February 2024
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Book contents
- Frontmatter
- Contents
- Acknowledgements
- Introduction
- Part I Figurative Economies
- Part II Adventures of the Classical Body in Modern Cinema
- Part III New Abstractions in Figurative Invention
- Part IV Summonses: Figures of the Actor
- Part V Image Circuits
- Part VI Theoretical Invention
- Epilogue: The Accident
- Bibliography
- Index
Summary
In the end, Wanda goes somewhere unimportant: a bar. There are workers and their lady friends. We can see Wanda's blonde hair standing out against the darkness of the set, deep and clearly welcoming, not needing to be shown, recognized by everyone, inhabited by everyone. Indescribably familiar.
There are friends singing—zim zoum zim boum zoum—checkered shirts, sounds mixed together like promised embraces, the golden hum of fraternity.
At each table, drinks are poured and tirelessly drunk. Wanda lowers her head a little and the image freezes.
The bar: a horrible bed where my partner is always moving away.
- Type
- Chapter
- Information
- On the Figure in General and the Body in ParticularFigurative Invention In Cinema, pp. 147 - 148Publisher: Anthem PressPrint publication year: 2023