Chaosophy - autonomous learning

whatever its subject; each time it represents a man, a woman, a
child, or an animal, it takes sides in the micro class struggle that
concerns the reproduction of models of desire. The real repression
of cinema is not centered on erotic images; it aims above all at
imposing a respect for dominant representations and models used
by the power to control and channel the desire of the masses. In
every production, in every sequence, in every frame, a choice is
made between a conservative economy of desire and a revolutionary
breakthrough. The more a film is conceived and produced according
to the relations of production, or modelled on capitalist enterprise,
the more chance there is of participating in the libidinal economy
of the system. Yet no theory can furnish the keys to a correct orientation
in this domain. One can make a film having life in a convent
as its theme that puts the revolutionary libido in motion; one can
make a film in defense of revolution that is fascist from the point of
view of the economy of desire. In the last resort, what will be determinant
in the political and aesthetic plane is not the words and the
contents of ideas, but essentially asignifying messages that escape
dominant semiologies.
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