15000-12

What, then, does the passage from one to another “shape of desire” in Red Play more precisely? The key to this paradox is located in the very passage from one to another discourse—is this not the fundamental characteristic of the Totalitarian regime, that is to say, of the hard-core photographers, that is to say, the ones who make erotic videos with extreme closeups of their genitals, which they then cover their cameras with a long piece of cloth, to appear some type of “more acceptable to the eyes”? However, what if this long cloth in no way conceals the face of the “real” subject? What if it is him, as it were, a long, thin neck about to be cut with a sharp weapon? (Did he not already make such videos with no one to protect him? And, how did he view them? Is he truly a passive paranoiac? Does he know that he is only a partial object, that his medium renders him powerless to certain acts? What does he effectively “know,” besides the video of his face being covered by a long piece of cloth?