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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 (Paperback, NIPPOD)
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Godard Between Identity and Difference (Paperback, NIPPOD)
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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, and so on. 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). Indeed, if part of the problem of speaking about or by
the Other is how such speaking traffics in inscription, then
cinematic language is certainly an important - and authentically
complex - intervention in that problem. 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 problematics. It is articulating exactly this
engagement that this book takes as its primary task. 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. 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.
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