For fans (or non-fans?) of Ingmar Berman, I highly recommend this 1968 parody short on his works (if chesska is the game of life, then why not badmintonska? Baseballska?).[and here’s a rotoscope parody of the parody].
Where does parody fit in “poetic thinking”? I am reminded of the quote we discussed from Bakhtin:
“It is precisely laughter that destroys the epic, and in general destroys any hierarchical…distance. As a distanced image a subject cannot be comical; to be made comical, it must be brought close. Everything that makes us laugh is close at hand, all comical creativity works in a zone of maximal proximity. Laughter has the remarkable power of making an object come up close, of drawing it into a zone of crude contact where one can finger it familiarly on all sides, turn it upside down, inside out, peer at it from above and below…examine it freely and experiment with it.”
In pointing out the absurd or undermining the serious, rendering it into the carnivalesque mode, does it orient by preventing us from settling into fixed meanings and dismantling systems, or disorient by leaving nothing firm for us to hold onto? Are we liberated when we walk without bannisters, or is the pathology of transcendental homelessness made terminal?