Abstract

There are curios for sale in a vacant lot: an armless mannequin next to a gramophone, bedsprings lie before a group of children who, playing, hold hands. There is a lamp suspended from a tree and a man sitting at a Louis Quinze table that stands in the open air. Clothes flap from a clothesline aboard a barge like flapping sails or even like discarded skins. In Georges Franju’s film Le Sang des bêtes/Blood of the Beasts, the violence of “displacement” is seen in the juxtaposition of out-of-place curios in the vacant lot and the dismemberment of bodies in the slaughterhouse. In the slaughterhouse, a horse’s head is cleaved with a mallet. The shock of the blow, like a burst or surge of energy, gives way to the...