“Freaks, this is a bit of the movie absolute, non ?” The Absolute film : the idea that it’s worth it, always and at the same time, to its opposite – each film is something like a counter-absolute. We will say that the filmmakers are interested, in general, to what is seen. But they do so with the following condition, that this evidence, this visibility, vienna oppose to what is shown in (regular or obvious).
Not just in this sense, as what is visible or hidden by what is shown, and that it would therefore reveal. Rather the opposite : the seen and the shown are usually one and the same thing, only a single image. And as long as there is only one image, it seems that the two are confused. From there, everyone was in agreement that there is something else going as soon as there is more than one image, from two, and to infinity.
An image, it is a monster
Freaks has shown that a figure in which what is seen and what is shown would be confused if called a monster. An image, it is a monster. Contrary to received ideas, which place the monstrous in a gap that is visible with what is shown in (regular or obvious). Freaks said the opposite. If this film against the absolute could be at this point in the story the absolute of the “small” against the “greats” of this world, calling unequivocally to the rebellion and the dictatorship of the first against the domination of the latter, which are intended to be included (one of us) or deleted, it is because it was able to overthrow the evidence, and the practice of a gap.
From two “monsters”, and to the infinite, the loneliness of the single images is ruined for ever, their magnitude is reduced in force, and one begins to see what, do not be always shown, did not appear : the number, strength, and the lives of those that are reduced to their image. In 1932, something even a bit new for the sound or speaking, intervened in the fight. Two images that are to speak together and can no longer do not make their voices heard.
Freaks by Tod Browning (Usa, 1932, 1: 04, recovery)