Cinema, a moving inscription of moving bodies, depends in its core on a constant operation of exclusion; only movements which produce and translate a value that conforms to the various cinematic conventions are deemed useful and retained, while others are discarded as »valueless«. The economy of cinema thus closely corresponds to the libidinal economy of the »normal«, propagating sexuality as well as the circulation of capital itself. However, it is the libidinal energies expended in vain, in an act of sterile consumption – a pyrotechnics of the image – which direct a way towards a cinema of real intensities instead of just consumer products – an acinema. Two means are at disposal, which represent two polar extremities of a possible détournement of cinematic movement and temporality; an extreme immobilisation of cinema as a tableau vivant and an extreme mobility of an abstract cinema, where representation is shifted to implicate the material support – the film strip – itself. In this way, the ideological simulation of unity and wholeness produced by the conventional cinema can be opposed and disrupted.

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