Is this why he is smiling? The camera is condemned to surfaces, to judging every book by its cover, and Moore’s hilarity may derive at least in part by his realization that the joke is on the viewer, that his feelings are finally unsupportable on emulsion, certainly not by the naked eye. Of course this is just a movie, we see a few seconds of what someone does all their life, and this traumatic reduction, this compression of time and elevation of gesture, the camera’s close-ups delivering outsized events of the body as iconic landscapes, continents of desire colliding and falling apart, all this may be an illusion. And always he is smiling, or laughing, as if his very evident inabilities have forced him to undertake a vocation, a calling even, left behind by those with more useful bodies, and more practical inclinations. Sometimes it’s enough for him to mark out a couple of letters and his partner quickly fills in the rest, acting as shorthand/translator, a conduit to his world of art and artists, stepping lightly over words he labours to touch.įrank sits in a wheelchair, his arms lying helplessly, uselessly in his lap. “I am a sex symbol,” points out Frank Moore on the spellboard he nods his head towards, the large pointer/paintbrush rising out of his forehead granting him access to the prison house of language. ![]() On the contrary, both assure us, they think about sex all the time. Cerebral palsy is thought to be the result of an injury to the developing brain which occurs during birth.” Using a variety of video post-production magics, badgirl Linda Feesey rescans a pair of couples whose desires have not been buried by their disabilities. In Sex and Cerebral Palsy (11:40 minutes BETA SP 2000) Feesey’s opening titles announce: “Cerebral palsy is a term used to describe a neurological condition affecting motor function and muscle co-ordination.
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