ABSTRACT
The visual is much larger than what is visualisable and thus cinema is inhabited by a profound contradiction. The problem that political cinema should confront is not so much the accuracy of the representation of the world but rather the degree of re-articulation and change that it is able to provoke within the plane of the visual through the facilitation of a formalisation practice. Capitalism expresses all the paradoxes and the impossibility-to-be-visualised that defines the object-gaze. Free association becomes the instrument with which connecting causal networks that are seemingly far from evident in the Imaginary or in spatiotemporal immediacy. The immediate object is not "opened up" in the sense of its inclusion in a horizon of meaning and in a world of subjective life modelled on Heideggerian phenomenology; it is rather questioned from the point of view of the contingent mediation given by capitalist economy.
