The Blue Velvet Project, #118
Second #5546, 92:26
1. Seconds after this shot, Sandy’s father, Detective Williams, will ask Jeffrey: “Is Sandy part of this?” It’s more along the lines of a warning than a question. Sandy, in the diagonally split screen, longs so deeply not just for Jeffrey but for the knowledge/power suggested by the office of her father.
Truth is a thing of this world: it is produced only by virtue of multiple forms of constraint. And it induces regular effects of power. Each society has its regime of truth, its “general politics” of truth: that is, the types of discourse which it accepts and makes function as true; the mechanisms and instances which enable one to distinguish true and false statements, the means by which each is sanctioned; the techniques and procedures accorded value in the acquisition of truth; the status of those who are charged with saying what counts as true. –Michel Foucault
Whenever the movie screen holds a particularly effective image of terror, little boys and grown men make it a point of honor to look, while little girls and grown women cover their eyes or hide behind the shoulders of their dates. There are excellent reasons for this refusal of the woman to look, not the least of which is that she is often asked to bear witness to her own powerlessness in the face of rape, mutilation and murder. Another excellent reason for the refusal to look is the fact that women are given so little to identify with on the screen. –Linda Williams, from “When the Woman Looks”
4. The frame invites us to gaze at Sandy gazing. She listens, she looks, but she does not, cannot, speak.
Over the period of one full year — three days per week — The Blue Velvet Project will seize a frame every 47 seconds of David Lynch’s classic to explore. These posts will run until second 7,200 in August 2012. For a complete archive of the project, click here. And here is the introduction to the project.