ABSTRACT
This is a complexity instilled by the materialist process of some works, whilst others give perception and the perceived the ideology of a oneness, the true, for the perceiver. Still others give truth as cinematically hidden from perception, alluded to from offscreen, implied, metaphorized. One way perception versus knowledge might be filmically constructed is stated in these notes from Condition of Illusion (1975): “This film is, in its viewing, a process that attempts to make sure of a retroactive reading, whilst viewing. Reading/viewing as knowledge, not immediate ‘realization/ Not an image (of ‘a splice’ for example) but a knowledge (of ‘that’). That’ being textually functional/transformational, not static.
