The spectacles of shame in Ki-Yong Park's Camel(s) (2002) and Satyajit Ray's Charulata (1964) are majestically constructed, animated by an aesthetic quality of restraint that deploys as its artistic technology negative space—that is, the interval between, or what the Japanese call ma (間) and Eastern philosophy understands more broadly as śūnyatā. On this basis, shame [...]

In what is perhaps the most famous scene of Buñuel's Viridiana (1961), Handel's Messiah gives rhythm to a bestial orgy: a burglary turned bourgeois banquet held by a motley group of beggars. Though the village paupers broke in and commandeered the estate of their benefactor ex-novitiate Viridiana with the intention of just "looking around," what [...]

Connaissez-vous quelque chose de plus outrageusement fécal que l'histoire de dieu et de son être: Satan [...]? Do you know anything more insultingly fecal than the history of god and of his being: Satan? - Antonin Artaud, Théâtre de la cruauté Whether he is ha-Sataan (הַשָׂטָן) the accuser, or el-Shaytan (الشيطان) the adversary, Satan is [...]