Joelle cleaning; the Incandenza Thanksgiving (ii)
on the fifth or sixth reviewing Joelle started to see the four-minute motionless shot as important for what was absent: the whole film was from the alcoholic sandwich-bag salesman’s POV, and the alcoholic sandwich-bag salesman—or rather his head—was on-screen every moment […] The statue, the sensuous presence of the thing, let the alcoholic sandwich-bag salesman escape himself, his tiresome ubiquitous involuted head, she saw, was the thing. The four-minute still shot maybe wasn’t just a heavy-art gesture or audience-hostile herring. Freedom from one’s own head, one’s inescapable P.O.V.—Joelle started to see here, oblique to the point of being hidden, an emotional thrust, since the mediated transcendence of self was just what the apparently decadent statue of the orgasmic nun claimed for itself as subject.
Context
The St. Teresa thesis — the plan's "book's self-reading" cashed out: POV as prison (the salesman's head imposed on every frame, and per the passage's close, swelling until "its dimensions exceeded the frame" by the film's end), one motionless shot as the only exit, "mediated transcendence of self" as the Work's secret subject. A technical device read as a moral argument, which is Joelle's whole critical method. The protagonist is an alcoholic sandwich-bag salesman — the Man from Glad inheritance (099's father, "inserted" into Glad Sandwich Bag spots) with the family's other inheritance poured in; the raw doesn't draw the 099 line itself, so recorded as cross-ref, not claim.