Memory Time Contemporary Bangladeshi Films

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Films are seen in large, silent, darkened theaters, where intense light beams are projected from behind toward luminous surfaces in front. There is an enforced and anonymous collectivity of the audience because, for any screening, all viewers are physically present at the same time in the relatively enclosed space of the theater. In contrast to this cocoon-like, enveloping situation is the fragmentary, dispersed, and varied nature of television reception. The darkness is dissolved, the anonymity removed.... While the aura of cinema spectatorship produces hypnotic fascination, the atmosphere of television enables just the opposite—because the lights are more likely to be on, one can get up and return, do several things at once, watch casually, talk to other people, or even decide to turn the television off.
—Sandy Flitterman-Lewis, U. S. educator, critic. “Psychoanalysis, Film, and Television,” Channels of Discourse: Television and Contemporary Criticism, ed. Robert C. Allen, University of North Carolina Press (1987)

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Alcoholism is a search for a common language, or at least, it is a compensation for a language that has been lost. The use of drugs does not imply the overestimation of the value of language but of silence. Drunkenness exaggerates communication; drugs destroy it. Young people’s preference for drugs reveals a change in the contemporary attitude toward language and communication. The first to see the differences between drugs and wine was Baudelaire: “Wine exalts the will; hashish destroys it. Wine is a physical stimulant; hashish a suicidal weapon. Wine mellows us and makes us sociable; hashish isolates us.” Wine is social, drugs solitary; the one inflames the senses, the other rouses the imagination.
—Octavio Paz (b. 1914)