: The Threshold of the Visible World (): Kaja Silverman: Books. The Threshold of the Visible World advances a revolutionary new political aesthetic–Kaja Silverman explores the possibilities for looking beyond the restrictive. Kaja Silverman. Routledge: London and New York, March ISBN 0 (Hbk) 0 (Pbk). The Threshold of the Visible World by Kaja.
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Materially and semantically wed to a mode of production, visual media are also never completely aligned with the interests that operate them, and it is arguably central to the mission of feminist film studies to theorize both the conditions under which the message departs from the logic of the medium, and the often contradictory effects such departures engender.
Kaja Silverman, The Threshold of the Visible World – PhilPapers
Susannah Radstone – – Cultural Values 5 1: Linking Benjamin’s notion of the aura with Brecht’s notion of alienation, she articulates an entirely new set kaha formal parameters for political representation. What forms of critical intervention does tkus organization enable? Wlule Reel to Real and The Threshold of the Visible World remind us of the stakes silvwrman tracing imaginary formations, they might also serve to signal the inquiries which are forfeit when we insist, with Mary Ann Dome, that “race relations are ensconced in.
In their analysis, film is not simply a vehi- cle of its maker’s colonial or anticolonial views but structurally implicated in the reproduction of neo colonial power.
Lists with This Book. Shohat and Stam’s schol- arship models one sort of critical intervention responsive to the questionsI have posed. Lacan intimates that the mirror provides the frame through which one relates to others within the domain of vision, stressing the priority of narcissism and the ego over all other libidinal transactions.
See bell hooks, Black Looks: Eschewing, moreover, the discourse of psychoanalytic theory in which Silverman proves centrally invested, hooks opts instead for the discourse of popular psychology, which posits as the thrshold of ther- apy the very tlung that psychoanalytic theory, particularly in its Lacanian inflection, most fervently rejects: How do the codes and conventions of a racial imaginary mutate as they circulate within local subculturalnational, and transnational economies of signs?
Yet the assumption remains that the protagonist models va- rious forms of psychic passage for the spectator, who is especially induced to follow when the impetus toward transformation, the sense of loss or lack whch sets the protagonist in motion, answers to something within the spectator’s own affective experience.
Cultural Produc- tion and the Transnational Imaginary, ed. She provides a detailed account of the social and psychic forces which constrain us to look and identify in normative ways, and the violence which that normativity implies. Remarking that numerous postcolonial intellectuals have ac- knowledged the film’s impact on their early formation, the au- thors cite filmmaker Haile Gerima’s account of seeing Tarzan as a boy in Ethiopia and affectively assuming, with the rest of the in- digeneous audience, the European’s point of view interestingly, the identification is apparently cross-gendered, because, regard- less of sex, audience members as one shout warnings to Tarzan whenever he is stalked by Africans.
The threshold of the visible world – Kaja Silverman – Google Books
Kristen rated it it was amazing May 25, Caterina Fake rated it it was amazing Sep 27, Rather than conjure new, more vibrant destinations for the jaded traveler, a political cinema might venture instead to promote accountability to other subjects, to show how borders matter, for better and for worse, rather threshpld set us, once again, on the path of a redemptive crossing.
Eluned Summers-Bremner – – Hypatia 15 1: Derya rated it did not like it Oct 31, Silverman, in contrast, studiously avoids such language, but her endorsement of a visionary cinema freed from the reproductive imperatives of mainstream mass media displays an equally silvermna sensi- bility, notwithstanding her elision of the term.
The visual image thus mediates be- tween the subject and the world or, in Silverman’s laja, stands as the “threshold” through which the world passes into the sub- ject and the subject projects herself into the world. In particular, they stress, Hollywood cinema is open to resignifica- tion by the differential practices of consumption withn specific local, national, and geopolitical silvreman.
What prevails in Pulp Fiction and Kids, hooks contends, is a “cool cynicism” that reflects the interests and sensibilities of a cultural elite, whle Hoop Dreams’ os- tensibly gritty look at the exploitation of African American ath- letes surreptitiously reinscribes a tired bourgeois ethos of success- through-individual-eff ort.
I would add now that this poten- tially debilitating overemphasis on the workings of the specular imagination seems increasingly endemic to the critical discourse on race, where race relations and the complexities of racial em- bodiment often reduce to a recycled meditation on the “self” and its determining, specular “others.
This is accomplished through examination of the ego, as well as two other categories at the center of Lacan’s account of the mirror stage: The Threshold of the Visible World and Reel to Real suggest an impulse to retrenchment at work with- in feminist film studies as some of its most important practitioners come to focus all too narrowly on the imaginary configurations internal to specific visual texts.
It is this letting go that makes it possible for her to be re- deemed. Crucially, however, such identifications, if they are to be genuinely contesta- tory in their implications and effects, “must conform to an exter- nalizing rather than an internalizing logic”; we must “identify ex- corporatively rather than incorporatively and thereby respect the otherness of the newly illuminated bodies” p.
In his sense of the word, to imbue the object with “ceremonial” meaning is precisely to de-idealize it, to reinvest it with material and historical specificity. Cathy rated it liked it Aug 01, An ethical relation to the other as subject means above all relinquishmg the prerogative to offer or to withhold recognition.
Toward the beginning of this review, I posited that hooks’s and Silver- man’s investment in an arguably outmoded aethestics of “experi- ment” was related to a certain concept of the image as the subject’s reflection, as the mirror whch positions her in the world, and I went on to caution that ths idea of the image, when employed as the sole analytical device, transforms the world into a mere reflec- tion of the individual subject.
Chloe rated it really liked it Jun 26, Whde Silver- man posits a spectator all too accustomed-all too passively re- sponsive-to the normalizing forms of cinematic address, hooks’s spectator belongs to those groups normally excluded from Holly- wood’s representational systems or relegated to devalued posi- tions wih them.
I would argue that the other as subject is unknown to us-precisely to the extent that the dominant culture has muted her, stripped her of the authority to sigrufy the mean- ing and the value of her own existence. I can’t believe that feminism just breaks off at the point where we get to join the Marines.
The Threshold of the Visible World
Darlene Pike rated it really fhe it Jan 01, Tags No tags found. These psychic and social constraints lead us to commit involuntary acts of visual violence against others.
The notion of the image as relay encourages analysis of the viewers’ subjection to the identificato- ry possibilities of the image but elides the extent to whch these identificatory possibilities are governed by circumstances extra- neous to the image itself.
Emphasizing that the image is never autonomous with respect to capital, Shohat and Stam also insist that the mode of the im- age’s consumption is never wholly subordinate visiible the film’s visu- al and narrative designs. Pylyshyn – – In Joao Branquinho ed.
At least at the movies, dreaming isn’t free.