Sleeper Film Quotes

Driving to pick up his son, Bennie alternated between the Sleepers and the Dead Kennedys, San Francisco bands he'd grown up with. He listened for muddiness, the sense of actual musicians playing actual instruments in an actual room. Nowadays the quality (if it existed at all) was usually an effect of analogue signaling rather than bona fide tape - everything was an effect in the bloodless constructions Bennie and his peers were churning out. He worked tirelessly, feverishly, to get things right, stay on top, make songs that people would love and buy and download as ring tones (and steal, of course) - above all, to satisfy the multinational crude-oil extractors he'd sold his label to five years ago. But Bennie knew that what he was bringing into the world was shit. Too clear, too clean. The problem was precision, perfection; the problem was digitization, which sucked the life out of everything that got smeared through its microscopic mesh. Film, photography, music: dead. An aesthetic holocaust!

There are two types of consciousness [optical and the instinctual] are intimately linked.For in the most cases the diverse aspects of reality captured by the film camera lie outside the 'normal' spectrum of sense impression.Many of the deformations and stereotypes , transformations, and catastrophes which can assail the optical world in films afflicts the actual world of psychosis, hallucinations, and dreams. Thanks to the camera, therefore, the individual perceptions of the psychotic and the dreamer can be appropriated by collective perception. The ancient truth expressed by Heraclitus, that those who are awake have a world in common, while each sleeper has a world of his own, has been invalidated by film - and less by depicting the dream itself than by creating figures of collective dream, such as the glove-encircling Mickey Mouse