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Books > Humanities > Philosophy > Western philosophy > Modern Western philosophy, c 1600 to the present > Western philosophy, from c 1900 -
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Godard Between Identity and Difference (Hardcover)
Loot Price: R4,573
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Godard Between Identity and Difference (Hardcover)
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The overarching argument of the book is that Godard's conception
and practice of cinematic language opens new, important
possibilities for thinking about radical alterity. This book reads
a series of Godard films as interventions in contemporary debate
about the language of difference. Godard has something he wants
both to preserve (singularity) and destroy (visual and aural
totalitarianism). How is it possible to speak about the Other? How
is it possible for the Other to speak? Does all speaking about or
by the Other render that speaking common, thereby rendering what is
different identical? These questions gather together a number of
issues that cross and intersect disciplinary boundaries:
signification, representation, ethics, politics.The problematics
with which Drabinski is concerned begin in the debate between
Levinas and Derrida, then later in dialogue with Blanchot and
Irigaray. To this extent, Godard is particularly well-suited as an
interlocutor. Godard's work, especially in the 1970s, is itself a
self-conscious form of philosophy. His films theorize themselves,
produce a reflexive sound-image language, and so in many ways match
the very essence of philosophy: thought thinking thought.Still, the
medium of sound and image complicates any rendering of Godard's
work as philosophy. Godard produces a philosophically significant
cinematic language rather than simply narrating or representing
philosophical ideas in the medium of film. And this language must
be taken seriously in the context of the problem of difference.
For, if difference is concerned with signification as such, then
the visual and aural retain equal rights with writing (and all
questions obtaining therein).The nature of the debate in this
project - how the language of alterity is possible or impossible -
immediately breaks disciplinary borders between philosophy,
literary theory, film studies and cultural studies. What it means
to engage with film in this context, however, is complicated. To
wit, there are two standard treatments of film in philosophy. Film
is typically either an example of a philosophical position or
philosophy is used to interpret motifs, characters, plot lines,
etc. In neither case is film engaged as a form of philosophizing
itself,that is, as a language engaged with philosophical problems.
The aim of the project is to read Godard's work as primary texts,
with all the attention due the idiosyncratic language of those
texts. Framed by the debate about difference and signification,
these primary texts register and resonate as transformative
interventions.
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