By Daniel O'Connor
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Extra resources for Mediated Associations: Cinematic Dimensions of Social Theory
Movement appears, on one hand, as a velocity or potential that moves virtually, without going anywhere, and, on the other, as directed or motivated movements that always go from one point to another. In the former sense, montage is responsible for defining the space of the affect, an essential filmic dis- 29 The Affective Associations continuity or interval of movement cut from its situational moorings. In the latter sense, montage defines various forms of movement that are actualized - that is to say, are placed or stitched into a setting or milieu - in order to constitute an overall sense of coordinated motion and filmic continuity.
Not all systems of power are engaged in direct face-to-face confrontations. Even the most obvious forms of direct physical confrontation are not secure from mediation. They are often appropriated en bloc as, mediating structures in other systems of power-knowledge, whose aim is not to engage in a direct assault. That is to say, some power relations require a middle or mediating term. Power-knowledge relations are relations that persist, even if only for short periods. They are processes that cover time.
I submit that, unlike institutions and the a priori bodies whose nature they are charged with constraining or socializing and whose social function is primarily one of control by imposing limits, the investigation of social apparatuses attempts to enter into the domain of the strategic situation where these essential bodies and their associations are produced as objects of knowledge and subjects of power prior to their subsequent marshalling in institutions. The structures and processes of social apparatuses are not identical with the hierarchy of organized positions and role constraints that characterize formal institutions and bureaucratic settings, such as prisons, schools, factories, and hospitals.