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Extra info for Carnal Thoughts: Embodiment and Moving Image Culture
1 (fall–winter 1988–89), 133–34. forty six brilliant scenes either technologically depending on electronic morphing, either ﬁguring the full of human life as extrusional, superﬁcial, and plastic. The masks, concerning the transformation and rejuvenation of the male psyche and spirit, signiﬁcantly performs its drama out on—and as—the floor of the physique. while wimpy Stanley Ipkiss is magically remodeled by means of the traditional masks he ﬁnds, there isn't any masquerade, no silence, considering the fact that each hope, each psychic metaphor, is extroverted, materialized, and made noticeable. His tongue “hangs out” and unrolls around the desk towards the item of his hope. He actually “wears his center on his sleeve” (or thereabouts). His damaging wants are extruded from his arms as smoking weapons. hence, although one may perhaps describe Jim Carrey’s functionality as “hysterical,” how can one potentially speak about the Mask’s physique when it comes to hysterical “symptoms” while every thing “hangs out” as extroverted identity and not anything is repressed “inside” or “deep down”? Which makes it either fun and apposite, then, that one reviewer says of The masks: “The results are show-stopping, however the ﬁlm’s hollowness makes the final consequence apparently miserable. ”14 right here, certainly, there's no inside of, there are not any signs, there is not any silence; there's merely reveal. dying turns into Her capabilities in an analogous demeanour, even supposing, right here, with girls because the important ﬁgures, the narrative explicitly foregrounds age and literal rejuvenation as its significant thematic—youth and wonder are the correlated gadgets of lady wish. certainly, what’s finest (although now not inevitably humorous) approximately demise turns into Her is that cosmetic surgery operates within the ﬁlm two times over. on the narrative point its wimpy hero, Ernest Menville, is a recognized plastic surgeon—seduced clear of his ﬁancée, Helen, by means of middleaging actress Madeline Ashton, whom we ﬁrst see starring in a musical ﬂop according to Tennessee Williams’s candy chicken of adlescent. due to Ernest’s surgical ability (which we by no means truly see at the screen), Madeline ﬁnds an entire new occupation as a film famous person. the following, J. G. Ballard, in a bankruptcy of his The Atrocity Exhibition referred to as “Princess Margaret’s Face Lift,” could good be glossing Madeline’s motivations with regards to Ernest in loss of life turns into Her. Ballard writes: “In a television interview . . . the spouse of a recognized Beverly Hills plastic health care provider printed that all through their marriage her husband had constantly re-styled her face and physique, pointing a breast the following, tucking in a nose there. She appeared supremely conﬁdent of her sights . . . as she stated: ‘He won't ever go away me, simply because he can continually swap me. ’”15 dying turns into Her performs out this preliminary fable yet is going directly to exhaust the in simple terms human powers of Madeline’s healthcare professional husband to avail itself of “magic”—both via narrative and “special” morphological results. Seven speedy years of display time into the wedding, henpecked, alcoholic Ernest is not any longer a lot use 14. CineBooks’ movie consultant, evaluate of The masks, dir.