“The army began to bury its strongholds and outworks in a third dimension, throwing the enemy into a frenzy of interpretation. Invisible in its sunken depths, the camera obscure also became deaf and blind, its relations with the rest of the country now depending entirely on the logistics of perception, with its technology of subterranean, aerial and electrical communication”. Virilio also claims that “fortress-tombs, dungeons and bunkers are first and foremost camera obscure … Their hollowed windows, narrow apertures and loopholes are designed to light up the outside while leaving the inside in semi-darkness” (Stevenson)
At different points in his cultural theory, Virilio tries to compare the stars and the pilots, and albeit between directors and dictators. He points out while referring to Cecil B Deville that they displayed an irrevocable amount of charismatic infallibility albeit cropping out from foreknowledge of scripts. And as ironic as it may seem, sometimes the scripts did not even exist. He discusses that for as long as one whole generation of cinematic miracle-workers, the entire process of direction and execution, even when revised and edited, literally took the form of revelation — “that is divine action which makes known to men truths that they would not be able to discover by themselves” (Stevenson)
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