Deleuze's concept of the 'any-space-whatever'
means, foremost:
the narrative cinema prioritizes
primarily for its own efficiency
from an almost strictly production standpoint
the kinds of incidental urban spaces
easily staged or swapped-out
passably recognizable inherently
to any inhabitant
of the urban part
of the surface of the earth.
Esmerelda really ain't
no kind of living saint
at least aside from the taint
of the smell of wet paint—
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