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E-book Nocturnal Fabulations: Ecology, Vitality and Opacity in the Cinema of Apichatpong Weerasethakul
When the Immediations book series at Open Humanities Press was launched, it was done with Gilles Deleuze’s concept of the intercessor1 in mind. We were looking for a way to give voice to a kind of collaboration that would work from within the weave of research and writing, a collaboration that would give texture to a voice (or a multiplicity of voice) toward a conversation to come. A conversation to come is one that invents interlocutors, one that refuses to know in advance where the encounter will lead. Deleuze calls this a minoritarian discourse: “We must catch someone fabulating, catch them ‘in the act’ of fabulating. Then a minoritarian discourse, with two or many speakers, takes shape... To catch fabulation in the act is to seize the movement of the constitution of a people. A people never preexists (translation modified)” (Deleuze 1995: 125–6).Nocturnal Fabulations: Ecology, Vitality and Opacity in the Cinema of Apichatpong Weerasethakul, an eight-handed, four-bodied book by Érik Bordeleau, Ronald Rose-Antoinette, Toni Pape and Adam Szymanski, is an essay in intercessing. This is not a book that is simply “about” the work of the cinematographer Apichatpong Weerasethakul, though it does engage his work in detail. It is a book that deeply questions what else might be at stake in setting up the conditions for collaboration across two genres – cinema and writing. It is a book that asks what else this uneasy interstice of image-thought can look like when it moves onto the page. This thinking-with can be understood as an engagement with how the films of Apichatpong themselves propose collective ecologies of thought and how these ecologies foreground new ways of seeing the image as a movement of thought. This gesture of thinking with and across image and text, of being moved by a work that intercesses two discrete but intertwined perceptual processes, developing vocabulary not to “explain” the work but to reactivate it by other means, proposes a wholly different ethos of engagement. Refusing to position itself outside Apichatpong’s work in an effort to situate it once and for all within a genre, or within a historical period, or order it using a theoretical method, what Nocturnal Fabulations proposes instead is a direct engagement with the forces of thought that move through the work and make it work. It is an attempt, in writing, to see where else these forces can lead.
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