ABSTRACT
This chapter focuses on the theoretical similarities between rhizome, decalcomania and Wilfred Bion's theory of thinking within the context of moving image experience. It discusses Richard Linklater's Boyhood as an example of rhizomatic film form and content, and considers how Bion's theory of containment offers a psychoanalytic theory of affect regarding spectatorship. Gilles Deleuze and Felix Guattari assign six criteria to the configuration and mechanics of the rhizome. Decalcomania identifies the central aspects of transfer from one surface, time or territory to another, so that whatever has been transferred might be experienced differently, or invite a different vertex. Deleuze's and Guattari's concept of rhizome and its specific principle of decalcomania is used to further Bion's theory of containment as a model to consider moving images as rhizomatic reverie experience. Bionian psychoanalysis, being much more concerned with affective and sensuous experience, speaks to Silvan Tomkins's freedom of affects.
