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Iconoclasm as an Artistic Device
Accordingly, this music acts like a code whose movement is followed by
the film, even if on its surface it creates the illusion of “real” movement
experienced in the world. This represents the point where the iconoclastic
gesture has come full circle: whereas at the beginning of film history it was
immobile contemplation that came under attack, by the end the film itself
loses its movement, turning into a black rectangle. As one tentatively feels
one’s way around the blacked-out installation space trying to get a better sense
of orientation, it is difficult not to be reminded of the image of the lacerated
eye in Buñuel’s film—a gesture that already promised to cast the world in
darkness.
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