In response to the week 5 Silke Panse reading…

  1. What constitutes pure and impure film?
  2. What are some other examples of structural cinema?
  3. What is the impact of eco-aesthetics to an audience?
  4. Why do we feel anxious about stillness in moving images?
  5. What does Panse mean when she says “the airplane in the plane of immanence offers no line of flight (what Deleuze calls a way out). Nothing is transcended” (52)?
  6. Why can’t humans and nonhuman animals be considered “collective forces of moving maters” while water, sky and wind can?