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First published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.
A leading film theorist and a filmmaker discuss the lasting contributions of the most prominent living filmmaker, Jean Luc-Godard Probably the most prominent living filmmaker, and one of the foremost directors of the postwar era, Jean Luc-Godard has received astonishingly little critical attention in the United States. With Speaking about Godard, leading film theorist Kaja Silverman and filmmaker Harun Farocki have made one of the most significant contributions to film studies in recent memory: a lively set of conversations about Godard and his major films, from Contempt to Passion. Combining the insights of a feminist film theorist with those of an avant-garde filmmaker, these eight dialogues-each representing a different period of Godard's film production, and together spanning his entire career-get at the very heart of his formal and theoretical innovations, teasing out, with probity and grace, the ways in which image and text inform one another throughout Godard's oeuvre. Indeed, the dialogic format here serves as the perfect means of capturing the rhythm of Godard's ongoing conversation with his own medium, in addition to shedding light on how a critic and a director of films respectively interpret his work. As it takes us through Godard's films in real time, Speaking about Godard conveys the sense that we are at the movies with Silverman and Farocki, and that we, as both student and participant, are the ultimate beneficiaries of the performance of this critique. Accessible, informative, witty, and, most of all, entertaining, the conversations assembled here form a testament to the continuing power of Godard's work to spark intense debate, and reinvigorate the study of one of the great artists of our time.
Combining phenomenology and psychoanalysis in highly innovative
ways, this book seeks to undo the binary opposition between
appearance and Being that has been in place since Plato's parable
of the cave. It is, essentially, an essay on what could be called
"world love," the possibility and necessity for psychic survival of
a profound and vital erotic investment by a human being in the
cosmic surround. Here, the author takes her cue from Freud's
assertion that the "loss of reality" associated with psychosis is a
function of a disturbance not in the capacity to reason or
perceive, but rather in the capacity for world love, the libidinal
and semiotic circuity by means of which such love actualizes
itself.
What is a woman? What is a man? How do they--and how should
they--relate to each other? Does our yearning for "wholeness" refer
to something real, and if there is a Whole, what is it, and why do
we feel so estranged from it? For centuries now, art and literature
have increasingly valorized uniqueness and self-sufficiency. The
theoreticians who loom so large within contemporary thought also
privilege difference over similarity. Silverman reminds us that
this is but half the story, and a dangerous half at that, for if we
are all individuals, we are doomed to be rivals and enemies. A much
older story, one that prevailed through the early modern era, held
that likeness or resemblance was what organized the universe, and
that everything emerges out of the same flesh. Silverman shows that
analogy, so discredited by much of twentieth-century thought,
offers a much more promising view of human relations. In the West,
the emblematic story of turning away is that of Orpheus and
Eurydice, and the heroes of Silverman's sweeping new reading of
nineteenth- and twentieth-century culture, the modern heirs to the
old, analogical view of the world, also gravitate to this myth.
They embrace the correspondences that bind Orpheus to Eurydice and
acknowledge their kinship with others past and present. The first
half of this book assembles a cast of characters not usually
brought together: Friedrich Nietzsche, Sigmund Freud, Marcel
Proust, Lou-Andreas Salome, Romain Rolland, Rainer Maria Rilke,
Wilhelm Jensen, and Paula Modersohn-Becker. The second half is
devoted to three contemporary artists, whose works we see in a
moving new light: Terrence Malick, James Coleman, and Gerhard
Richter.
Combining phenomenology and psychoanalysis in highly innovative
ways, this book seeks to undo the binary opposition between
appearance and Being that has been in place since Plato's parable
of the cave. It is, essentially, an essay on what could be called
"world love," the possibility and necessity for psychic survival of
a profound and vital erotic investment by a human being in the
cosmic surround. Here, the author takes her cue from Freud's
assertion that the "loss of reality" associated with psychosis is a
function of a disturbance not in the capacity to reason or
perceive, but rather in the capacity for world love, the libidinal
and semiotic circuity by means of which such love actualizes
itself.
The Miracle of Analogy is the first of a two-volume reconceptualization of photography. It argues that photography originates in what is seen, rather than in the human eye or the camera lens, and that it is the world's primary way of revealing itself to us. Neither an index, representation, nor copy, as conventional studies would have it, the photographic image is an analogy. This principle obtains at every level of its being: a photograph analogizes its referent, the negative from which it is generated, every other print that is struck from that negative, and all of its digital "offspring." Photography is also unstoppably developmental, both at the level of the individual image and of medium. The photograph moves through time, in search of other "kin," some of which may be visual, but others of which may be literary, architectural, philosophical, or literary. Finally, photography develops with us, and in response to us. It assumes historically legible forms, but when we divest them of their saving power, as we always seem to do, it goes elsewhere. The present volume focuses on the nineteenth century and some of its contemporary progeny. It begins with the camera obscura, which morphed into chemical photography and lives on in digital form, and ends with Walter Benjamin. Key figures discussed along the way include Nicéphore Niépce, Louis Daguerre, William Fox-Talbot, Jeff Wall, and Joan Fontcuberta.
..". a vitally new understanding that takes us from the terms of the representation of sexual difference to an anatomy of female subjectivity which will be widely influential." Stephen Heath "An original work likely to have significant impact on all those with an interest in the vibrant intersection of feminism, film theory, and psychoanalysis... " Naomi Schor ..". powerfully argued study... impressive... " Choice ..". important because of its innovative work on Hollywood s ideologically-charged construction of subjectivity.... what is exciting about The Acoustic Mirror is that it inspires one to reevaluate a number of now classical theoretical texts, and to see films with an eye to how authorship is constructed and subjectivity is generated." Literature and Psychology "As evocative as it is shrewdly systematic, the pioneering theory of female subjectivity formulated in the final three chapters will have wide impact as a major contribution to feminist theory." SubStance The Acoustic Mirror attempts to do for the sound-track what feminist film theory of the past decade has done for the image-track to locate the points at which it is productive of sexual difference. The specific focus is the female voice understood not merely as spoken dialogue, narration, and commentary, but as a fantasmatic projection, and as a metaphor for authorship."
Probably the most prominent living filmmaker, and one of the foremost directors of the postwar era, Jean Luc-Godard has received astonishingly little critical attention in the United States. With Speaking about Godard, leading film theorist Kaja Silverman and filmmaker Harun Farocki have made one of the most significant contributions to film studies in recent memory: a lively set of conversations about Godard and his major films, from Contempt to Passion. Combining the insights of a feminist film theorist with those of an avant-garde filmmaker, these eight dialogueseach representing a different period of Godard's film production, and together spanning his entire careerget at the very heart of his formal and theoretical innovations, teasing out, with probity and grace, the ways in which image and text inform one another throughout Godard's oeuvre. Indeed, the dialogic format here serves as the perfect means of capturing the rhythm of Godard's ongoing conversation with his own medium, in addition to shedding light on how a critic and a director of films respectively interpret his work. As it takes us through Godard's films in real time, Speaking about Godard conveys the sense that we are at the movies with Silverman and Farocki, and that we, as both student and participant, are the ultimate beneficiaries of the performance of this critique. Accessible, informative, witty, and, most of all, entertaining, the conversations assembled here form a testament to the continuing power of Godard's work to spark intense debate, and reinvigorate the study of one of the great artists of our time. Kaja Silverman is Professor of Rhetoric and Film at the University of California at Berkeley. She is the author of several books, including The Threshold of the Visible World, Male Subjectivity at the Margins, and The Subject of Semiotics. Director and film essayist Harun Farocki has made over 70 films, including Videograms of a Revolution and Images of the World and the Inscription of War.
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