Past and future entangled, the mediated recollections of Frampton's past functioning also as an index of the future, in that these recollections describe the image (of his past) that await us, the viewer, in our own immediate future -- images which we will then view as the next image is described. This has the effect of clouding our memory of Frampton's account of the still photograph now before us, which in turn is incinerated, and thus is also paradoxically animated; layered chains of pasts and futures, destructions and vivifications, arriving finally at the unseeable horror of the present.
Ang Lee knows exactly what he's doing opening on a train station. He's not merely positioning himself on a cinematic continuum that begins with the Cinematograph, but explicitly aligning himself with the technological innovation of the Lumiere's. They freed cinema from the confines of Edison's Kinetoscope, and now Lee presents us with a work that 100+ years of developing projection technology is still literally unable to contain. Theirs' was a train arriving at the station –– his is departing. Consider…
"It's like they think 'maybe if I do a good job, the man with the gun will change his mind.'"
It’s unfortunate that the whole Scorsese vs Marvel/etc debate has made it so that everyone has to file into two very specific ideological camps with regard to the man’s entire body of work; he deserves critical, nuanced discussion. Yes it’s silly to think that Scorsese’s career boils down to an uncritical endorsement of ‘toxic masculinity,’ but it’s just as silly…