The filmography: the partial present-scene roster and the full n024 catalogue of the Work

pivotal · UNDATED span (~twelve years of directorial activity, B.S. into YTSDB)

• When: UNDATED; across "the twelve years of Incandenza's directorial activity," from undated pre-Subsidized shorts to the last films of YTSDB; the present-scene films are recalled during the 8 Nov YDAU I-Day screening
• What: JOI's output as surfaced in the present scenes (a partial roster): "The Man Who Began to Suspect He Was Made of Glass" (also a Hal essay-title, 001); "Cage III - Free Show" (058); an early "coldly conceptual Super-8 on people named John Wayne who were not the real... John Wayne," litigated by John Wayne's father over the word "Homo" in the title (065); a two-part U.S.T.A. documentary "on jr. competitive tennis, stress, and light" (086, containing the only footage of Eric Clipperton); "The ONANtiad," a four-hour anticonfluential political parody Mario later adapts into his puppet film (081); and the audience-death films of his anticonfluential middle period (085): "The Medusa v. The Odalisque" (holographic wraiths petrifying their own theater audience) and "The Joke" (the audience filmed watching itself until it leaves) — anticonfluentialism and "Found Drama" both originating one drunk night with Lyle after "Made of Glass" disseminated and even the avant-garde journals faulted JOI's fatal flaw: plot (078). The archival filmography (endnote 24) is the fullest map: it spans "industrial, documentary, conceptual, advertorial, technical, parodic, dramatic noncommercial, nondramatic ('anti-confluential') noncommercial, nondramatic commercial, and dramatic commercial works," through four corporate name-changes (Meniscus Films -> Latrodectus Mactans Productions -> Heliotrope -> Poor Yorick Entertainment Unlimited), and attests the clusters richly (heavy title overlap with the present-scene roster — Medusa, Joke, ONANtiad, Brick): the Cage series (I-V, incl. the unfinished Cage IV - Web and Cage V - Infinite Jim); the optics/annular documentaries (Kinds of Light, Annular Fusion Is Our Friend, The Machine in the Ghost); the audience-death / anticonfluential films (The Medusa v. the Odalisque, The Joke, Kinds of Pain); the paternal/optical pieces (Widower, As of Yore, It Was a Great Marvel That He Was in the Father Without Knowing Him — a father posing as "professional conversationalist" to draw out a mute son, the fictionalized twin of JOI's own disguise, event 15); Found Drama ("conceptual, conceptually unfilmable. UNRELEASED" — the hoax's fullest telling is Orin's, in n145: a grant-funded "revenge on the critics" who'd savaged the anticonfluential work, its method a page torn from the phone book and a thrown dart, whoever it names becoming the unknowing protagonist of ninety unwatched, unrecorded minutes ("is the Drama"), critics hailing the "ultimate in Neorealism" until Himself — "The Mad Stork" — finally dropped the joke; the filmography's own compilers were confederates, compromising the catalog itself: n145 pp. 1027-1028); and the recurring Infinite Jest entries (I-V?), the last the crux (event 16). The note flags JOI's high-concept practice that certain projects "required that they be titled and subjected to critique but never filmed"; the final entry is a bibliographic thornbush, its "Master cartridge either destroyed or vaulted sui testator." [Bears on the Entertainment question: the audience-entertained-to-immobility films prefigure the lethal Entertainment; catalogued here as filmography only.]