CONCRESCENCE AND THE KINETIC POTENTIALITY PT. 2

In Part 1, I concluded the essay with these words:

In the case of the kinetic phenomenality, the operation of concrescence depends on bringing together disparate elements into what appears a seamless whole, just as it does with respect to symbolic discourses.

In that essay, I viewed the physical dynamicities expressed by two artists-- Jack Kirby and Mike Zeck-- and gave my reasons for viewing a Kirby panel as "good kinetic discourse," while Zeck's panel was"bad kinetic discourse." Nevertheless, in previous essays, I've gone on record as stating that even badly done kinetic discourses may fall within the combative mode. One such essay on that subject was INTENT VS. EXECUTION. In that 2015 essay, I compared two mediocre movies, 1956's WORLD WITHOUT END and 1984's AMAZONS, both of which conclude with less than impressive fight-scenes. Yet, since I rated AMAZONS as combative and WORLD as subcombative, for me this begs a question regarding the function of concrescence in this conceptual model.

Oddly, though INTENT links with an earlier essay that discusses the narrative-significant schism. I didn't bring that concept into play in any direct manner. However, I gave Paul-Michael Glaser's AMAZONS credit for having a combative "intent" that I did not find in Edward Bernds's WORLD:

So, even though both Paul Glaser and Ed Bernds fall short in terms of execution, I give Glaser the nod because his work shows some "intent" to provide a combat that resolved the differences of the opponents, while Bernds seemed unaware that his main hero had to do something at least semi-impressive. 

It belatedly occurs to me that what I called "execution" in the essay parallels with the concept of a work's narrative value with relation to the combative mode: that if the work doesn't display the contending of impressive energies, then it cannot be combative. Yet, though Glaser's film isn't much better in terms of showing those contending energies, it does show "intent," which in my system would line up with a "significant value"-- ergo, the concluding fight is important TO THE READER for such-and-such a reason.

Thus, I find that while the kinetic discourse of both works may be inferior in terms of narrative values-- and thus, not fully concrescent-- AMAZONS is concrescent with regard to the significant values possible for both works, while WORLD is not, and so registers as subcombative.