For Campion, this scene signals a decidedly regressive effort to retreat to a pre-oedipal space reimagined as itself skirting a fundamental difference. But this seeing through translucent skirts that yet screen or shadow Treves and Merrick, as much as it marks a deadeningly monological and fixed conception of looking relations, also betrays more. After a short fadeout, the elephants take her place, charge the camera, and subsequently strike her from behind.
In an unlocatable space illuminated by a movie set spotlight, the slow-motion depiction of the elephants charging the fallen woman renders the scene a horrifying rape. After a fade to black, the sequence concludes with a puff of white smoke and the audible cries that, the film implies, belong to the newborn produced by the attack. The sequence includes three iterations of the maternal: The sequence begins with Merrick, visiting with guests in his hospital room, trying to calm them by confessing that he too remains frightened by the imponderable, specifically by the fact that his beautiful mother gave birth to him, a disfigured son.
Lynch then cuts to the back of Mrs. Mothershead as she debates with Treves. The camera pans across his head to enter the single opening of his hood and tracks the hallway of pipes in the hospital basement. Sounds emitted from the pipes register as the amplified, labored breathing of the bronchitis-afflicted Merrick. Bytes and I are very much alike. Merrick into a curiosity all over again, this time in a hospital. By linking the rebellious colonial subject with the brutalized worker, Lynch illuminates what the figure of the woman in the broader Victorian culture is also charged with suppressing—the rage and potential rebellion of the colonized and the working class; yet the sequence also exposes the nascent transgressive power of the angelic woman and mother framed in the images implicitly or explicitly cherished by, respectively, the Treves of the published reminiscences and the filmic Treves.
Although reminding us that even when such rage escapes its bounds, its containment is often sought by other means—pitting one other against an other—the scene nonetheless mines a discontent putatively far removed from the angelic ideal. On the other hand, the archaic mother ambiguity against which the not-yet individual seeks to shore up its borders has herself been linked with the world of animals such that she comes to represent the nature against which culture must move to establish itself POH, 12— Instead, the glare obscures the easy first sight of Merrick for both Society members and film spectators.
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Cinema, the scene suggests, literally found its early life alongside fairground attractions. The fairground scene, that is, does not aim to inoculate viewers against the play of desire in the field of vision but demonstrates that Treves or the cinema spectator can be seized—and seen—by an object of vision. Merrick can never remain simply a part of an audience.
Nevertheless, the theater scene complicates a notion of unidirectional looking relations, even in rigidly framed spectacles. It is not only Treves and Montagu who suffer from reminiscences.
Cinema, Technologies of Visibility, and the Reanimation of Desire - V. Hausmann - Google Книги
The cinema repeatedly returns to investigate and replay the notion of its origins. Kendall presented to Merrick in the preceding scene. When, for example, Merrick is later kidnapped by Bytes and displayed in a ragtag sideshow on the continent, the scene in which Merrick collapses not only signals the inherent danger of spectacle to reverse terms the crowd, more clearly witnessing the pathos of Merrick and feeling shamed, spit at Bytes and the show abruptly ends , but also, with Lynch again employing a tracking shot at a fairground, marks how the cinema as an attraction likewise depends on a violent refusal of the imponderable, what challenges sequential narratives that depend on cause and effect.
The camera stops in its tracks when it reaches Merrick at the end of the line. Lynch, however, foregrounds each of the gaps between framed figures that the camera crosses by startling film viewers with a lightning flash each time the camera tries to proceed, unencumbered, across each gap. The scene thus suggests that spectators and the cinema and its historians cannot be categorically absolved of what motivates those captivated by medical, sideshow, and theatrical spectacles: One of the most direct sequences that contests the conventional role that cinematic genealogies often reserve for photography occurs when Merrick escapes from the continent and arrives by train at the London station, only to be hounded first by children and then by an adult mob.
When, through increased momentum and through off-screen sound of a chuffing train , a frightened Merrick becomes a kind of mobile still camera or imposing, runaway locomotive struggling to escape the tormenting boys, he is framed, moving, against successive frames. The camera continues Figure 4. Positioned behind and above his head is a blank advertisement space that appears as a kind of panoramic cinema screen see figure 4.
By forcing the fleeing Merrick to increase his pace, the hounding boy serves to drive Merrick to the end of the line, as it were, and back to the start. The traumatic event occurs only belatedly—as if for the first time—in another place and time and affords the subject at best a tenuous claim to what in the end remains radically enigmatic UE, 4—5. The brutality against Merrick and his difference results in literally trampling the girl, a point lost on the avenging crowd. Although Merrick more forcefully contests the element of the myth that sanctions a reading of him as singularly a beast or machine, his double take he looks back at the fallen girl as he flees can remind us of his own difficulty in leaving behind the idealized image of the maternal.
Importantly, that idealized image helps propagate the element of the tale—Merrick as merely and exclusively a beast—that he rightly refuses. His unwitting, exclusive assignment of that role to the father appears to blind Merrick to how he may come to inherit that confining conception of the role, and his never mentioning his father may imply a desire for an exclusive relation with the mother. Granting a more dynamic role for, and relation to, the subjects positioned at, or in the wake of, such an originary scene, however, does not render it any less confounding or unstable.
As he remarks, One of the things I like about photography is the machine of the camera. It forces you to see that moment but in a different way. I like these processes, because there are more opportunities for accidents. LOL, It cannot escape notice that Merrick becomes an emblem of a photography understood as a fantastic machine. As Tom Gunning, in his study of spirit photography, magic, and trick films, remarks, if photography emerged as the material support for a new positivism, it was also experienced as an uncanny phenomenon, one which seemed to undermine the unique identity of objects and people, endlessly reproducing the appearances of objects, creating a parallel world of phanstasmatic doubles alongside the concrete world of the senses verified by positivism.
Yet the hospital walls also appear as an expanded surface for the interior of a body that extends beyond its fleshy container. What emerges as inside or beneath the body, however, is shifting and hybridic, hardly a ground that might yield a compensatory fixed point for a surface that both popular and scientific laboratory film culture had revealed as unstable.
Abominable things these machines. Moreover, the Victorian view of the source and nature of such power sounded an affinity between animal and machine. You see pictures of. They were like slow explosions. Human beings are like little factories. They turn out so many little products. LOL, If Lynch emphasizes the heretofore underrepresented Victorian wonderment over the factory-like productions of human and animal bodies, his film, in expressing concern over the potential of industrialization and machine culture to forestall the generative interchange between affect and language, also joins more rehearsed readings of some pronounced Victorian viewpoints.
However, Ketabgian nuances the view that takes Carlyle and, more broadly, Victorian thought to dismiss the machine-like workings of the human soul as de facto nonfeelings: Lynch figures photography and cinema likewise as machines that cannot be cast as inherently or exclusively deadening or enlivening. With respect to their use in scientific and popular entertainment culture, visual apparatus can be deployed to violently try to contain all sorts of differences, to make little space for the uncertain that pulses through inexpressive as well as patently expressive life.
Photography, that is, can work to submit affect to language and thus encourage an embrace of the play of alterity in the field of vision. Photography presents the possibility of a machine accident that breaks down rigidity in perception. The technology can serve to drive home the notion that not all is transparently available to sight and that the illusion of seeing without being seen, of constructing a bulwark against others and Otherness, remains difficult to permanently sustain.
Although acknowledging the certain and uncertain registers of intense and charged forms of inexpression, The Elephant Man does not valorize or see their potentially transgressive force both productive and destructive as negated by submitting such affects to language. Even though Merrick frequently remains silent, especially in public or in the presence of strangers, his reasons often stem from concern to preserve himself as opposed to a sanctified silence or inexpressible affect. To be sure, even when Merrick, without veil, speaks, his words appear eclipsed by the papillomatous growths that register as intense and, moreover, confounding affective forms of inexpression.
These melodramatic conventions often serve, as they do here, to underscore the entrapment of individuals who, unable to easily grasp the causes of their plights or the social conditions and discourses that speak through them, thus frequently encounter difficulty articulating their desires in language or speech.
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Merrick clings to the idealized image of the lost mother, worshiping her photograph, placing it beside his bed and at times under his pillow as he sleeps. When eventually cornered by the mob and rendered as waste in a train station urinal, he stands and angrily insists, for the first time, that he is a human being. What is more, throughout The Elephant Man, Lynch depicts Merrick attempting to make sense of his experience not only through speech but also through other ways that bespeak the generative embrace of Symbolic elaboration. For Lynch, technologies of vision resist being harnessed to any discourse that would situate them beyond the exigencies of desire and the accident.
As he tells Treves when they return from the pantomime: Indeed, her photograph, framed in the deep space of the universe, is reanimated and appears as an irradiated, solar eclipse. In addition to the train, animals were among the first sights eyed by early cinema and, of course, cinema itself was first sighted and jostled for attention with animals on display at the fairground.
Even if implicitly, the cinema solicited the elephant in particular and the animal in general in order to stake out a view of its own beginnings. It is as if the human being is there to accompany the elephant to the other world. Or, [it is as if] the spirit of the elephant appears to transfer to the man. The human figure hovers on the surface of the shot, never fully absorbed. The dismissal of Merrick as purely animal, of course, aims to underwrite the unethical treatment of him as well as of animals. It is not merely animal and human difference that seem elided in this inspired spectral loop, but also the particularity of photography as it relates to cinema, as well as of the child as it relates to the maternal origin.
After Merrick smoothes out his bed covers, relishing his remaining moments of life, and lies down to die, there is an abrupt cut to a close-up of the now dead Merrick. That work, although not refusing the call to sense making and Symbolic elaboration, nonetheless makes space for the inexpressible and the unseen, for the play of alterity that both disrupts and vitalizes meaning. The shape of the line enhances it image, but its meanings distort it.
In short, Lynch breaks any implicit promise to generate and deliver a final, triumphal transparency at the end of the line. Lynch uses smoke to indicate the brutality of the production of such fantasies, not to imply that fantasy per se is or could be banished, even less to dismiss industry or technology outright, but rather to decry fantasies that extol stasis and rigid orderings. Is this perspective exalting or, on the contrary, terrifying?
Sam and Claire often appear only slightly less numb than the many affectless people whom they meet, people whose distinct cultures are joined, at times leveled, by a surfeit of screens charged with reproducing a glowing sameness in isolation that passes for life and community but remains closer to living death. What is more, even if the formidable obstacles facing Claire and Sam as they attempt to move beyond themselves and a psychic deadening are compounded by the flouting of the paternal function extant in their social sphere, the extent of the crisis for Wenders is more pervasive than in Mendes or even Verbinski, simply because, in encountering its manifestations in most of the eight countries through which they travel, Claire and Sam chart a globalized repudiation of Symbolic elaboration.
Although their journey across the planet is inspired by a laudable, memorializing effort—to avoid bounty hunters who, working for a totalitarian U. Until the End of the World extends this critique and makes clear that spectacularly reducing psychic life within a postwar German context that often refused to confront its Nazi past renders even more difficult a critically and historically informed work of memory HI, That is, being forced by U.
Farber Max von Sydow who has endured multiple exiles, Until the End of the World demonstrates that individuals like Farber can, in the wake of trauma, invest in the inviolability ostensibly promised by the image and pointedly do so at the expense of others—in this instance, his wife and the Aboriginal community who offer him refuge. The threat of atomic fallout that looms in Until the End of the World cannot avoid evoking the avisual inheritance of radiation and the X-ray.
Such encounters remain capable of making palpable the likewise vibrant interplay between the enigma of the visible and the enigma of the body POP, The image, though, need not inherently work to block affective relations or to suspend generative, dialogic interchange between self and self, self and other, and self and world. Seeing, according to Wenders, can reflect and provoke an engagement with the world. In films—at least in my films—. I think a picture stands on its own more readily, whereas a word tends to seek the context of a story.
Narrative involves forcing the images in some way. Sometimes this manipulation becomes narrative art, but not necessarily. Often enough, the result is only abused pictures. Still, by the time Until the End of the World was released , the speed and proliferation of images posed increasingly daunting obstacles for maintaining the vitality of psychic life. When Until the End of the World opens, everything appears to have fallen or be about to fall. During a series of shots of earth taken from space, the novelist Eugene, in voice-over, warns of the imminent crash of the runaway Indian nuclear satellite.
When the camera descends to rest on Claire, it catches her awaking in terror from the latest recurring dream of her own fall, a nightmare of her rapid descent over an unknown land. As part of a global network of communication and spy satellites, it marks one instance of the choreographed deployment of visual technologies to try to manage conscious and unconscious responses to the world. While her turn is also provoked by an accident—a bottle thrown from a car of bank thieves smashes her window—when we watch her emerge from behind the wheel, framed by the empty windshield, and remove glass from her face, she continues her initial questioning of a culture that extols disembodied, affectless framings of experience.
Later, when she again meets Sam, in an auto repair shop she first encounters him at a videophone booth , Claire agrees to help him avoid bounty hunters, and she drives away, this time with a new windshield, itself framed by a wet, bubbling glue, an image that conveys her welcoming of a more tenuous, provisional frame for engaging the world. Her near missionizing zeal to save him also barely disguises the effect of a psychic malaise that she only begins to feel and often still would keep at bay. As we will see when considering Dr.
This can take place through an imaginary fusion with this outer body, but if it is experienced not in a merely narcissistic way but as a governing principle of my whole subsequent existence, what I call love is openness to the other, and it is what gives me my human dimension, my cultural and historical dimension. TPK, Through film and extensive critical writing and lecturing, Wenders tirelessly advocates for this openness to others and insists on the power of visual art, especially cinema, to effect just such a dynamic interplay between the bodily drives and language.
His films, moreover, contest cinematic moves to deny the discrete, the gap that emerges between frames and destablilizes teleological drives toward fixed meaning. In spite of the inflation of images that increasingly concerns him in the late s and thereafter, Wenders underlines how giving proper space for the singular within and against a series performs—and can reawaken—an agonistic struggle that provokes dialogic exchange.
Cinema, as a site where it proves difficult to obtain each individual image, is precisely the place to preserve the vitality of the image: Image and screen script remain neither absolutely separate nor fully conjoined: Letters appear on the screen of Until the End of the World and are pointedly sighted on video screens, computer terminals, videophones, photographs, and, of course, novels.
For the film, such attempts remain deadening, whether pursued by individuals such as Claire and Sam or propagated by the social sphere. That is to say, Until the End of the World not only marks this interior of the subject as a space where the rigid barriers of the audiovisual would be most strictly reinforced by culture but also focuses in particular on unuttered or internal auditory registers that cling to the graphic letter and yet remain irreducible to speech or to diegetic or nondiegetic soundtrack music.
Wenders persistently focuses on this play between music and a so-called silent visible script, on the internal sounds or rhythms generated by such script, internal registers that cannot merely be consigned to a future, presumably fuller life of sound, or speech. The relationship of the words is different; and having them printed on the image makes them more prominent. Yet he concurs with Dawson and finds a still more specific condition in which the disruptive effects of these subtitled scenes obtain: Such an audience would, of course, hear the sound as opposed to the sense of the spoken word in its play against the image.
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Wenders, however, implies that this audience—and even one comprised of native speakers—would register the sound, as opposed to the sense, of speech as it likewise works against the image of the letter on screen. The remarks that prompt this discussion suggest that the sound of incomprehensible speech that Wenders sees as attached to the screen letter relates to the challenge he heard as a child when he listened to the sense of the audible word as it was set against music: I often realized that American or English people could [also] listen to it really without realizing what the words were.
Things have to become insecure. Foreignness [is] a way of losing the old notion of selfevidence. Crossing a frontier or being someplace else I never was before, gives me. Crossing frontiers gives you a feeling of losing preconceptions.
In this sense, the scene offers Wenders the opportunity to challenge a cinema that would, through a series of seamlessly linked frames, deny the play of the discrete that pulses in and through a sequence, in order to offer itself to spectators as an emblem of continually unfolding, progressively accruing coherence. The scene includes a vertically driven script here German positioned at the upper edge of the frame that contrasts that of the horizontally moving, illuminated projections that figure prominently on the wall.
These projections are of a series of clocks, each moving regularly, as if in synch with the motion of a rotating globe nearby, and each matching a city to its corresponding time zone. Claire watches these images while listening to a cellist playing from a sheet of musical notation. The images of illumined globes and the illumined visible print of the names of the city beneath them are made to move in time with the sound of the cello. This manner of targeting and disciplining the internal rhythm of the reader or viewer is further underscored, as it were, by the placement of the illumined letters on the glowing lines reserved for musical notation.
As he does in the scene of Claire sleeping and waking at the airport, though, Wenders offers a concomitant critique of claims that might look to the letter on screen as sustaining a conventional reading that takes cinematic movement to re-sound an alphabetic or teleological notion of relation and history.
For instance, when Claire and Sam try to avoid a bounty hunter, their dash into the street positions them between two cable cars moving in opposite directions. The viewer of the scene loses the couple momentarily, and the script of advertisements emblazoned on the trams comes into sharper focus. The passing cable car in the foreground of the image effects a random and fragmented spelling of the letters on the car it passes in front of: Some letters are isolated, others bifurcated, by the series of passing window frames.
Scenes of recording and transmitting images with Dr. Although refusing to bracket the endeavor to allow Edith to see from a potential impulse to try to arrest and transmute a discordant Otherness, Wenders nonetheless insists that such memory work can promote dynamic interchanges between affect and language, and self and other. Far from extending the range of a powerful gaze and capitalizing static investments in vision and the verifiable, in Until the End of the World the interior of the body confounds efforts to sound the kind of transparency and depth that putatively reproduces an illumined subject impervious to Otherness.
On the same bit of [high definition] tape. A huge number of electrodes to register. Unlike some neuroscientific claims that assert the biochemical brain response to be transparent or able to bypass the activity of a reading informed by perspective and the exigencies of desire, Wenders codes the biochemical data as textual or Symbolic: Whoever had initially recorded the images had to see them again. The first time the computer recorded the act of seeing. Now it was recording the act of remembering.
The requirements for successful transmission address, too, what the film pinpoints as one of the more deleterious effects of the violent changes in seeing that have taken place at the end of the twentieth century. The process works not only to slow down the speed of the image and the act of seeing and reading it, but also to incite a bond between transmitter and receiver that unsettles atomized, isolated seeing.
As teens, Edith and her husband fled from the Nazis. Even before Sam reunites with his parents, his approach to aiding them and to working through his experience of postmemory exacerbates his psychic displacement and reflects a turn against Symbolic mediation. That is, however well-intentioned, Sam nearly assumes he must become blind like his mother in order to give meaning to her, and in turn to his, suffering. By presuming that a literal manifestation of devastation might be the only effective commemoration, Sam in effect refuses to symbolize suffering.
As opposed to those moments when the audible overlay of sound or speech would gloss over or regulate the difference associated with the internal sound of the graphic letter, Wenders here marks the internal spelling of a letter without seeking to usher it toward fixed meaning. This latter complication remains especially relevant when the two communities engaging each other, in distinct ways, stand in an exilic relation to their respective nation of birth Germany, Australia.
By the time Sam and Claire arrive in Australia, the world may have ended. The detonation or crash of the nuclear satellite interrupts all computerized and electrical forms of communication, so they and the film audience do not know for sure. For Henry and Sam, this uncertainty makes all the more pressing their transmission of the archival high-definition images to the blind Edith.
If I were Sam, this would make me feel like humming the music of the spheres. It [the dream image] needs nothing. As Maisie complains to Dr. Just as important, by underscoring how Henry, whose relationship with the Aboriginal community is cast as familial and often genuinely aims at the reciprocal, quickly invokes rigid racial and ethnic categories of identification and notions of heritage when it serves his purpose, Wenders signals how, despite the transnational contestation of fixed boundaries and singular national identities, communities outside within the nation at the present time can nonetheless still seek to reimagine and solidify rigid notions of cultural and national difference at the expense of others.
And so everything is part of the story. Despite the threat of devastating loss posed by impending catastrophe or its after effects, and in the wake of historical and contemporary aggressions, the Aboriginal community maintains a respect not for an atomistic singing to the self in a stultifying effort to echo an ostensible inviolability and distance from the world and others, but rather for an acknowledgment of how the landscape solicits and remains part of an interanimating, dialogic relation with others.
The country is not something that the elder Aboriginal man owns, but something he remains obliged to care for through a commemorative work, a Symbolic elaboration in the present for what is and continues to unfold. My heart is dead. The film parallels his effort with attempts by Aboriginal men to cure Sam of his similar addiction. We would have him sleep between two old men who are strong enough to cope with his dream. Claire awakens to find the novel under the ear, as it were, of a seashell.
Together these rituals present a striking contrast with those that have guided Claire and the Farbers. Caruth finds here the basis of an ethical exchange that does not rely on an absolute affinity between self and other or self and self. The call to ethics is made precisely when one cannot find a common, stable, knowing ground with the other.
For filmmakers and critics concerned with place, not noting the particular ways in which visual technology were being used by indigenous peoples is problematic. In the mids Aboriginal Australians were using media not simply to facilitate Western memory projects, and they were not necessarily gauging their response to that technology on the success or failures of the kinds of uses exhibited by those like the Farbers.
As Faye Ginsburg notes, progressive state policy, indigenous activists, an independent and alternative film culture, and remote and urban Aboriginal people all became interested—sometimes for different reasons—in how these media could be indigenized formally and substantively to give objective form to efforts for the expression of cultural identity, the preservation of language and ritual, and the telling of indigenous histories. Typically, the graphic mark will appear when a transition from one shot to another or from one scene to another is made to coincide with a shift in the form of representation used to present an image on the cinema screen.
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This scene is immediately followed by one in which Eugene and Winter, the bumbling detective associated with computer searches and surveillance screens, walk toward each other. Film spectators see their images reflected, each in a single half of a conjoined surveillance mirror that sits atop a street pole. Just as the mirror image of each man approaches the other, raising the expectation that the two images and perhaps the form of representation with which each is associated will resolve into a single image or art , the camera fixes on hieroglyphic script inscribed on the street pole.
I tell him this is not an actual effect, this is noise. But he thought it was very good. The layers that create the dream palimpsest that Wenders describes are joined in the film with images of graphic letters. These links in effect aim to reclaim the indexical fingerprint as the privileged ground for constructing what the film imagines is a dialogic relation to the image but remains in the end much more monological than it seems willing to countenance. In this sense, the claim to preserve the sacred from sight seems a slight of hand that, however idealizing, appears designed to short-circuit the play of difference that cannot be removed from conceptions of the work of drawing or analog photography, as we have seen in our discussions of The Ring, The Elephant Man, and American Beauty.
Unlike the radio advertisement in the cable car scene, one in which the graphic letter marked a disseminating, decidedly non-self immediate and self-authenticating auditory presence, the abandoned radio station in which Eugene lives now appears as the site in which his composing is in effect reconceived by the film so as to aim to transmute ambiguity into something more final. The film implies that this form of composing somehow remains analogous to drawing, as if the striking of the keys and their branding or leaving a mark on paper were a move toward returning writing to its presumably more indexical and self-authenticating roots.
The occasion when Eugene receives the typewriter—when the scientists are still committed to helping Farber perfect the machine that will allow Edith to see—seems relevant. It remains difficult not to read this move to render writing as a kind of naturalized script on the order of drawing as bespeaking an effort to arrest the play of ambiguity that the film insists the broader culture perpetuates through its encouragement of a debased relation to the image.
Literature can look back on its own to painting and drawing, as can cinema, as can video. In the way that the artifact of the photograph both gestures toward and reanimates passions, it recalls and encourages encounters with others and an Otherness experienced as both beyond and within the subject. A lthough they have, of course, been with cinema from the start and remain remarkably resilient, the living dead have recently insinuated themselves more frequently in domains that extend beyond conventional and unconventional horror films.
They have found portals, too, in other long-established as well as new technologies of visibility, pathways closely tracked in contemporary film, with its eye intensely trained on an inheritance rendered, or merely more clearly revealed as, unstable in the face of an uncertain present and future for cinema.
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Such work, however, also charts the mounting threats to such an exchange posed by consumerism, fundamentalism, and related assaults on non-standardized thought and expression, affective relations with others, and unsettling anxieties and desires. Welcoming Symbolic law, in fact, guarantees the resounding eruptions that perpetually and dynamically unsettle the seemingly fixed contours of the subject. More to the point, in figuring Otto as a zombie looking not to devour flesh but to find love, and in framing that search within the context of what the art film within the film, if too abstractly for LaBruce, nonetheless tries to grapple with—namely, the near globalization of a psychic numbness—Otto; Or, Up with Dead People echoes much of what I have explored in my study.
The dead body has become the site of voyeuristic fascination. If Kristeva looks to literature and LaBruce to film, they both urge us, as do the films I have taken up, to look again. Such registers, in part, present an opacity and unpredictability that may work not only to destabilize the social order or to test the certainty of metaphysical orderings that rely on absolute or consoling distinctions, between observer and observed and among the categories of human, animal, and machine, but may also present as responses that seek shelter not in but from deadening refusals of uncertainty.
Otto is so sensitive to the cruelty of the modern, corporate-controlled world that he has literally deadened himself to it. Cinema, Technologies of Visibility, and the Reanimation of Desire 1. Queer Theory and the Death Drive Durham: Harvard University Press, Tim Dean and Christopher Lane Chicago: University of Minnesota Press, , xxii.
Just as important, this substantial body of work has, one might say, by taking Lacan at his word, illumined the ways in which his project, by concentrating so exclusively on the father and on the realm of speech the Symbolic in which he holds an admittedly tenuous sway, effectively risked literalizing the metaphoric quality of the paternal function, reducing it from an effect of the system of language that exceeds the individual by nearly delegating its endorsement solely to the man or father.
An Interview by Philippe Petit, trans. Julia Kristeva, New Maladies of the Soul, trans. Ross Guberman New York: Zizek and the Ethics of Psychoanalytic Criticism. For a trenchant reading of these changes and the continuing relevance of film theory as a frame of reference for negotiating encounters with the aesthetic and philosophical issues emerging amid the proliferation of the digital arts and technologies, see D. Stephen Melville and Bill Readings, ed. Duke University Press, , 20 hereafter cited as VT.
Lisa Cartwright, Screening the Body: Routledge, , 65 hereafter cited as MSAM. Yet we must transform it through linguistic activity into a form of sublimation or into intellectual, interpretive, or transformational activity. Martin Jay, Downcast Eyes: University of California Press, Toril Moi New York: Columbia University Press, , An Essay on Abjection, trans. Leon Roudiez New York: Harry Zohn New York: Harcourt, Brace, and World, Essays on Queer Theory and Film, ed. Turn of the Century Film from the Archives, ed. Charles Musser New York: American Federation of the Arts, , 76 hereafter cited as BH.
Quoted in Lippit, DOA, Koji Suzuki, Ring, trans. Who Is the Analyst? Debates on Women, Politics, and Culture in France, —, ed. Columbia University Press, Kelly Oliver New York: Living Under the Leadership of GodGreat leaders know that leadership is not about power and authority, it's about influenceleading others by example. But as flawed, sinful people, we often fall short.
We fail those who look to us for guidance and direction, allowing our actions and decisions to be misled by selfish ambition and pride. Author, pastor, and college president Joe Stowell provides a new generation of leaders with a counterintuitive look at Christian leadership, demonstrating that great leadership in God's eyes begins when the leader's heart is aligned with his. On Comics and Legal Aesthetics. This Is Called Moving. Engaging the Moving Image. The Subject of Minimalism. Cinema, Technologies of Visibility, and the Reanimation of Desire. How to write a great review.
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