‘Look, We Movin Now’
The study of the interface between film and literature is increasingly an important area of research in the humanities and social sciences. A film is a unique product in that it synthesizes the various art forms: writing, compositional structure of painting, music, architecture and drama. These structures, images and discourses increasingly infiltrate the written text as writers experiment with film’s capacity to project ideas through direct mechanisms of affect or explore the ways in which the simulated image has shaped modern consciousness. Thomas Docherty observes that the description of the rhizome as a deterritorialization of language is also a description of cinematography in particular in its classical formulation by Sergei Eisenstein as dialectical montage (1990: 91). Luke Gibbons, in ‘Montage, Modernism and the City’, sees montage as an avant-garde idiom that governs the ‘incessant collision of images simulating the disorientation and fragmentation of life in the metropolitan centre’ in Joyce’s novel, Ulysses (Gibbons 1996: 165). More recently, film as a form of philosophical enquiry has shaped discussions on the nature of Caribbean thought, as in Gabrielle Hezekiah’s Phenomenology’s Material Presence, which examines the ways in which the filmmaker Yao Ramesar uses the materiality of film to enter into the spaces of Caribbean memory and experience through the filming of rituals (Hezekiah 2010).