By Philippe Tretiack
Agitation: it is a excessive! This booklet is a user's advisor for everybody who's burning to determine, to move, to do. it is a hymn to the intoxication, the joys, and the muse of existence within the quick lane! ''Agite'' is ready to develop into a brand new loved ones notice, exchanging ''hyper'' in our vocabulary for the hot period.
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Additional info for Are You Agité? A Treatise on Everyday Agitation
Now he has to play back the message again! But here’s the problem: while we’re all good at “deleting,” destroying, getting rid of messages that we don’t want, we are not too good at figuring out the play-back keys. To “listen to a message again,” do you press “5” and “#,” or “*5*”? Who knows? It’s an absolute rule that every conversation is interrupted by a phone call. And not only calls that one receives but even calls that one cannot keep oneself from making. As if the hands were acting on their own, flicking adroitly across the number pads, landing us in the stratosphere of answering machines and answering services that pass by each other on the sea of messages, in a big-bang of uncontrolled electronic pulses.
It’s lonely. ”9 And suddenly reality hits like a thunderbolt. ”10 Heartbreak Hotel The instinct for mastery has taken over the whole planet. Because the Agité is a traveler, because he is full of pep, because he’ll walk over hot coals, he sees the ground slipping away beneath his feet. He finds it, then it eludes him. It deceives him. Travel, distance, melancholy. In the hotel room he is suddenly < 55 > Are You Agité depressed. So far from everything and everyone. Given up in suffering. Where is all that exaltation that had buoyed us along so far?
What’s being shown < 41 > Are You Agité there only very rarely maintains the integrity of the border of the frame. It is blurry, indistinct, dispensable. It takes courage and tenacity to film, as Scorsese still does in Casino, a Robert De Niro penetrating the frame on the far right, against a panoramic background; on TV, the actor will have only the viewers’ imagination to count on, if he is not to have exited from the scene entirely. The loss of the frame, the disappearance of panoramic perspectives: these two elements are combined in the use of long focal distances.