When I heard the news of Chéreau's death, I recalled that scene and wondered what emotion lay behind it.
Over the years there have been various hypotheses about exactly where the neural bases of emotion lie.
As in many a mob, the swell of shared emotion lay on the knife-edge of violence.
Like nearly every male singer, Dylan never shows true vulnerability - the nearest any of them gets is a kind of modish, moody self-pity - but Jungr repeatedly reawakens detailed emotion lying dormant in lyrics.
(There is some evidence, however, that exercises like meditation can shift a typical mood toward the positive). Over the years there have been various hypotheses about exactly where the neural bases of emotion lie.
According to Barlow, attempts to suppress painful emotion lie at the heart of most pathology; the struggle involved in suppression only tightens the noose on an already vulnerable neck.
In short there is an over-emphasis, an over-weaning power of expression, that obscures the counter currents of emotion lying beneath the surface of the work of those five pantheon directors, in such of their masterpieces as Voyage to Italy (Rossellini), Gertrud (Dreyer), or Lancelot du Lac (Bresson) which are truly beyond criticism.
In short, there is an over-emphasis, an over-weaning power of expression, that obscures the counter currents of emotion lying beneath the surface of the work of those five pantheon directors, in such of their masterpieces as Voyage to Italy (Rossellini), Gertrud (Dreyer), or Lancelot du Lac (Bresson) which are beyond criticism.
Under these strong emotions lies a meaningful experience, which might just provide a starting point, or perhaps a signpost as you continue to develop the bigger piece; write from that.
One of the most important contexts for understanding the epistemic strengths and weaknesses attributed to the emotions lies in their relation to the imagination.
