|
|
This is a limited free preview of this book. Please buy full access.
|
Figure 14. The final shot of the electrocution fragments just the twitching feet, emphasising pain via performance signs in close-up. |
|
Figure 15. The deranged Edward (Damian Young) shoots Jan (Chuck Montgomery) in a protracted, escalatingly absurd sequence shorn of conventional artifice, where no blood is shed. |
|
Figure 16. Montgomery’s movement here visualises the impact of the bullet in the left shoulder, echoing historical representations of performed violence. |
|
Figure 17. Miho (Miho Nikaido) is manipulated during the butoh rehearsal. Echoing the construction of her social role, she is moved into position by her male manipulators. |
|
Figure 18. The absence of spatial context in the final shot of Henry Fool provides an interpretative problem, given that performance signs are bound by context for meaning. |
|
Figure 19. Unfocussed energy and a frequent use of “illustrator” gestures mark Henry’s (Thomas Jay Ryan) body persona, an energy that will noticeably shift as the film progresses. |