Films seen before understanding become permanent emotional image banks

Evidence

Growing up with movies as a child and being subjected to them before I could understand the adult preoccupations and motivations involved in the plots, pitched me into conscripting these films as a personal grammar. I had no choice, so I ended up with this Lynchian reservoir of sequences that carried every dread and joy and everything in between. … These events are still imbued with unfathomable, inexplicable, tantalizing mystery, because I couldn’t really understand them at all. It was hallucinogenic and vivid, and provided me with an image bank and a gorgeous range of emotional tones I still haven’t managed to exhaust. — Mark Fisher, Ghosts of My Life, 376

Categorization

• QUESTION: Fisher’s whole book circles hauntology and retained/unprocessed sensory material — does Foxx’s ‘unfathomable mystery carried into adulthood’ articulate the hauntological mechanism more precisely than other contributors?
• XREF: connects to: Film anchors in pastness while video inhabits a continuous present — Anna Kornbluh, Immediacy, or The Style of Too Late…, 201; Media images supply the visual grammar for racialized fear — Peter Morey, Islamophobia and the Novel, 365

Broader Connections

• Media images supply the visual grammar for racialized fear #corroborates (0.75) — Peter Morey, Islamophobia and the Novel, 365
• Film anchors in pastness while video inhabits a continuous present #expands (0.72) — Anna Kornbluh, Immediacy, or The Style of Too Late…, 201