e-flow across a horizontal/vertical grid. Subjectivity is at once decentered and completely extroverted--again erasing the modernist (and cinematic) dialectic between inside and outside and its synthesis of discontinuous time and discontiguous space as conscious and embodied experience. As Jameson explains: The liberation...from the older anomie of the centered subject may also mean, not merely a liberation from anxiety, but a liberation from every other kind of feeling as well, since there is no longer a self present to do the feeling. This is not to say that the cultural products of the postmodern era are utterly devoid of feeling, but rather that such feelings--which it might be better and more accurate to call "intensities"--are now free-floating and impersonal, and tend to be dominated by a peculiar kind of euphoria....[34]Brought to visibility by the electronic, this kind of euphoric "presence" is not only peculiar. At the risk of sounding reactionary, I would like to suggest that it is also dangerous. Its lack of specific interest and grounded investment in the human body and enworlded action, its saturation with the present instant, could well cost us all a future.Phenomenological analysis does not end with the "thick" description and thematization (or qualified reduction) of the phenomenon under investigation. It aims also for an interpretation of the phenomenon that discloses, however partially, the lived meaning, significance, and non-neutral value it has for those who engage it. In terms of contemporary moving-image culture, the material differences between cinematic and electronic representation emerge as significant differences in their meaning and value. Cinema is an objective phenomenon that comes--and becomes--before us in a structure that implicates both a sensible body and a sensual and sense-making subject. In its visual address and movement, it allows us to see what seems a visual impossibility: that we are at once ...
