MOVIE OBJECTS (9)
April 25, 2020
LIMOUSINE | MELANCHOLIA | d. LARS VON TRIER | 2011
The worries that the privileged man uses as an excuse to forestall the oppressed are in fact worries about preserving his privilege. — Kafka, The Blue Octavo Notebooks
The limousine in Melancholia meant to bring the bride and groom to their wedding party can’t turn the corner. It reverses, it goes forward, it reverses again. It is liminal, this limo. It is in limbo. Ambivalent, stuck in a rut. The wrong size, the wrong fit. It hesitates. It can’t go on; it won’t go on.
The couple smile and laugh it off; it is an adventure isn’t it… no but it is something more serious. At first a mere tincture, a secretion of pain, this splinter in the eye of their romance is fatally infected. They won’t cross the threshold after all. The marriage ends before it begins.
It is when objects and people don’t work the way they are supposed to that we become aware of them. The root of the word sabotage is sabot, wooden shoe; clog–clogging up the works. In a metonymic contagion, the limousine’s refusal/inability to do what it is supposed to do foreshadows the bride’s refusal/inability, and later the telescope’s refusal/inability to reproduce the status quo, to tell, for example, a reassuring story to the patriarch, who pretends up until the end that what he wants to be true, is true. As if reason itself, like the limo, the bride, and the telescope, exist only to reinforce his exclusive (exclusionary; expropriated) vision of reality.
And when reason also refuses, and the irrational apocalypse arrives, he abandons his family to their fear. The only one left to turn to in the end, the only one with any inner resource left is the unmarried, ill sister, the childless aunt, the failed bride. Her seeming symptoms turn out to have been the intimations of a higher-order truth than any prior rationalism. It is her incapacity for denial that makes her, finally, the only capable one left. Not because she saves the day – there can be no saving it – but because she finds a way to die to the world she has been dying to all along, by fabricating a new one in the shell of the old. That the new world she creates, founded on love, a work of love, lasts only a moment, is a reminder that life is only ever just that — one, ever-changing, created moment. The collision here is not between planets but between truth and delusion. What’s left when both are destroyed?
MOVIE OBJECTS: INTRODUCTION | Ramona Lyons on EYE OF THE SERPENT (CONAN THE BARBARIAN) | Faythe Levine on BEDKNOB (BEDKNOBS AND BROOMSTICKS) | Gerald Peary on CUP OF COFFEE (THE BIG HEAT) | Christopher Orr on TOM’S HAT (MILLER’S CROSSING) | Lynn Peril on TRANSISTOR RADIO (DR. STRANGELOVE) | Whitney Bowers on DUCT TAPE (NOW AND THEN) | Kio Stark on CANDLE (DEBBIE DOES DALLAS) | Tom Roston on CALCULATOR WATCH (BREAKFAST CLUB) | Miranda Mellis on LIMOUSINE (MELANCHOLIA) | Carolina A. Miranda on HAUNTED ACCORDION (THE WIND JOURNEYS) | Vanessa Berry on FIBREGLASS MARLIN (LOVE SERENADE) | June Thomas on CERAMIC DUCKS (A TASTE OF HONEY) | Madeline Ashby on LETTERS OF TRANSIT (CASABLANCA) | Dave Walker on ETTINAUER 226-XL (REAL LIFE) | Jonathan Lethem on SINGLE-JACK HAMMER (EARTH ABIDES) | Guy Trebay on STAMPS (CHARADE) | Annie Nocenti on PASSPORT (THE PASSENGER) | Tony Arcabascio on SHEEPSKIN COAT (BEAT STREET) | Alix Lambert on TYPEWRITER (MARY AND MAX) | John Sellers on WHITEBOARD (A QUIET PLACE) | Carlo Rotella on POWDERING CONE (REIGN OF TERROR) | Laura Miller on SEVERED EAR (BLUE VELVET) | Josh Glenn on CASSETTE TAPE (BREATHLESS) | Vicente Lozano on NOTEBOOK (WHERE IS THE FRIEND’S HOME?) | Jeff Malmberg on SPAGHETTI SAUCE (THE GODFATHER).
LOST OBJECTS (vol. 2): INTRODUCTION | Joe Yonan on MACRAMÉ ART (ill. Theo Ellsworth) | Ben Katchor on LUCITE CARRYING CASE | Debbie Millman on GLASS POODLE | Lydia Millet on ROCKY HORROR NOVEL (ill. Berta Valló) | Ben Greenman on WARHOL CAN (ill. Clara Selina Bach) | & 20 MORE.
FETISHES: INTRODUCTION | Josh Foer on DEATH MASK | Beth Lisick on MURDERED-OUT KFC BUCKET | Christina Couch on LEECH ACTION FIGURE | Kenneth Goldsmith on THEWLIS SOCK | Abby Rapoport on MAGNATILES | & 20 MORE.
FOSSILS: INTRODUCTION | Allegra Huston on SKATAWAY JACKET | Kevin Obsatz on HOMEMADE NUNCHUKS | Ian Bogost on DESKTOP TELEPHONE | Jeff Lewonczyk on CHA-CHA JACKET SCRAP | Kelly Horan on VOLVO KEY | & 20 MORE.
FLAIR: INTRODUCTION | Cliff Kuang on ROLEX DATEJUST | Ethan Zuckerman on LAPTOP STICKERS | Ann Shoket on LEATHER JACKET | Kembrew McLeod on KEMBREW MERCH | Paola Antonelli on MERMAID TEARS | & 20 MORE.
LOST OBJECTS (vol. 1): INTRODUCTION | Kate Bernheimer on MULLET WIG (ill. Amy Evans) | Dan Piepenbring on COLOGNE (ill. Josh Neufeld) | Doug Dorst on STRATOCASTER (ill. John Holbo) | Paul Lukas on VANILLA BEAN (ill. Allison Bamcat) | Mimi Lipson on DODGE DART (ill. Mister Reusch) | & 20 MORE.
ILLICIT OBJECTS: INTRODUCTION | Kio Stark on PEEPSHOW TOKEN | Sari Wilson on TOMBSTONE PARTS | Annalee Newitz on CAR-BOMB REMNANT | Tito Bottitta on MOONINITE DEVICE | Eric Bennett on DIRTY MAGAZINE | & 20 MORE.
TALISMANIC OBJECTS: INTRODUCTION | Veda Hille on CROCHET SHEEP | Gary Panter on DINOSAUR BONES | Jami Attenberg on SELENITE CRYSTAL | Annie Nocenti on MINIATURE DICE | Wayne Curtis on CLOCK WINDING KEY | & 20 MORE.
POLITICAL OBJECTS: INTRODUCTION | Luc Sante on CAMPAIGN PAMPHLETS | Lydia Millet on PVC POLAR BEAR | Ben Greenman on MATCHBOX CAR | Rob Baedeker on PRESIDENTS PLACEMAT | L.A. Kauffman on WHEATPASTE POSTER | & 20 MORE.
SIGNIFICANT OBJECTS at HILOBROW: PROJECT:OBJECT homepage | PROJECT:OBJECT newsletter | PROJECT:OBJECT objects (Threadless shop — all profits donated to the ACLU) | POLITICAL OBJECTS series (1Q2017) | TALISMANIC OBJECTS series (2Q2017) | ILLICIT OBJECTS series (3Q2017) | LOST OBJECTS vol. 1 series (4Q2017) | FLAIR series (2Q2018) | FOSSIL series (4Q2018) | FETISHES series (2Q2019) | LOST OBJECTS vol. 2 series (4Q2019) | MOVIE OBJECTS series (2Q2020). ALSO SEE: SIGNIFICANT OBJECTS website | SIGNIFICANT OBJECTS collection, ed. Rob Walker and Josh Glenn (Fantagraphics, 2012) | TAKING THINGS SERIOUSLY, ed. Josh Glenn (Princeton Architectural Press, 2007) | TAKING THINGS SERIOUSLY excerpts.