Here I would like to focus on three related aspects of these aesthetics, namely: 1) their constitutive hybridity; 2) their chronotopic multiplicity; and 3) their common motif of the redemption of detritus. After arguing the special qualifications of the cinema for realizing such a hybrid, multitemporal aesthetics, I will conclude with the case of the Brazilian "aesthetics of garbage" as the point of convergence of all our themes, specifically examining three films literally and figuratively "about" garbage.
This is a story about the sixties: it's about me and some friends of mine, it's about Berkeley, and it's about Pynchon. It's about a decade in which we were all young together and thought we would stay young forever. By Andrew Gordon