By Steven Shaviro
In 'The Cinematic Body', Steven Shaviro proposes an intensive new method of movie viewing. relocating among Jerry Lewis and Andy Warhol, among Fassbinder's homosexual intercourse icons and George Romero's flesh-eating zombies, 'The Cinematic physique' cuts throughout disciplinary obstacles and seeks to have interaction new currents in serious notion.
Shaviro greatly opinions the Lacanian version at the moment well known in movie conception and picture experiences, arguing that model's obsessive emphasis at the phallus, castration nervousness, sadistic mastery, ideology, and the constitution of the signifier. during this groundbreaking quantity, Shaviro successfully communicates a feeling of the inescapable ambivalences and intensities of latest tradition, eventually maintaining a completely postmodern sensibility
CONTENTS: movie thought and visible Fascination: Appendix - Deleuze and Guttari's conception of Sexuality * Contagious Allegories: George Romero * Comedies of Abjection: Jerry Lewis * our bodies of worry: David Cronenberg * Masculinity, Spectacle, and the physique of 'Querelle' * Warhol's our bodies * A observe on Bresson * Conclusions
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Extra info for Cinematic Body (Theory Out Of Bounds)
My goal is not to establish the (phenomenological or psychoanalytic) "truth" of cinematic experience and the cinematic apparatus, but to follow these images in their seductive drift away from any such truth. My guiding principle is that cinematic images are not representations, but events. Foucault (1982) writes (following Deleuze): 24,5 An event is neither substance, nor accident, nor quality, nor process; events are not corporeal. And yet, an event is certainly not immaterial; it takes effect, becomes effect, always on the level of materiality Let us say that the philosophy of event should advance in the direction, at first sight paradoxical, of an incorporeal materialism, (p.
More generally, William Flesch (1987) argues that, due to editing, "the virtual space of film ... is alien to the laws of causality," so that "film provides a perfect analogy to Hume's epistemology of flux" (p. 278). Flesch goes on to show that the Humean or Heraclitean logic of film—its anarchic play of images at once literal and disembodied, and connected to one another only by convention or habit—remains irreducible to the space and structures of 38,9 theatrical representation, however much Hollywood continuity rules strive to mimic and reimpose this latter.
Flesch goes on to show that the Humean or Heraclitean logic of film—its anarchic play of images at once literal and disembodied, and connected to one another only by convention or habit—remains irreducible to the space and structures of 38,9 theatrical representation, however much Hollywood continuity rules strive to mimic and reimpose this latter. In film, there can be no firm guarantees of identity and presence. Even the most naturalistic mise-en-scene is fragmented and framed in ways that are incompatible with monocular representational space, or with that of a proscenium theater.