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Exploring several dimensions of the problem of "film languages,"
this volume engages the complications inherent in the study of the
"other" and investigates the intricate relationship between
postcoloniality, national identity, ideology, and filmmaking.
Author John Mowitt establishes how Eurocentrism sustains both the
concept of the foreign language film and the flawed initiative of
multiculturalism. Using bilingualism and the concept of foreign
film language, Re-takes pushes film studies beyond both linguistics
and psychoanalysis to resituate is within the networks of global
cultural communication. Through close readings of the bilingual
films of Senegalese filmmaker Sembene Ousmane and Bolivian
filmmaker Jorge Sanjines, Mowitt articulates the poetics and
politics of postcoloniality in the global cinematic field, and
challenges film studies to reflect on the relation between its
organizing analytical distinctions - national and foreign, textual
and institutional - and its position within globalization.
Examining how elements involved in bilingual films have
implications for the way academic intellectuals classify and
misappropriate cultural forms, Re-takes is a provocative
intervention into ongoing discussions of the changing nature of
film and media studies.
In a wide-ranging, cross-cultural, and transhistorical assessment,
John Mowitt examines radio's central place in the history of
twentieth-century critical theory. A communication apparatus that
was a founding technology of twentieth-century mass culture, radio
drew the attention of theoretical and philosophical writers such as
Jean-Paul Sartre, Walter Benjamin, Jacques Lacan, and Frantz Fanon,
who used it as a means to disseminate their ideas. For others, such
as Martin Heidegger, Theodor Adorno, and Raymond Williams, radio
served as an object of urgent reflection. Mowitt considers how the
radio came to matter, especially politically, to phenomenology,
existentialism, Hegelian Marxism, anticolonialism, psychoanalysis,
and cultural studies. The first systematic examination of the
relationship between philosophy and radio, this provocative work
also offers a fresh perspective on the role this technology plays
today.
This is not a book about sound. It is a study of sounds that aims
to write the resonance and response they call for. John Mowitt
seeks to critique existing models in the expanding field of sound
studies and draw attention to sound as an object of study that
solicits a humanistic approach encompassing many types of sounds,
not just readily classified examples such as speech, music,
industrial sounds, or codified signals. Mowitt is particularly
interested in the fact that beyond hearing and listening we "audit"
sounds and do so by drawing on paradigms of thought not easily
accommodated within the concept of "sound studies." To draw
attention to the ways in which sounds often are not perceived for
the social and political functions they serve, each chapter
presents a culturally resonant sound--including a whistle, an echo,
a gasp, and silence - to show how sounds enable critical social and
political concepts such as dialogue, privacy, memory, social order,
and art-making. Sounds: The Ambient Humanities significantly
engages, provokes, and contributes to the dynamic field and inquiry
of sound studies.
Rethinking the importance of Sigmund Freud's landmark book "The
Interpretation of Dreams" a century after its publication in 1900,
this work brings together psychoanalysts, philosophers, cultural
theorists, film and visual theorists, and literary critics from
several continents in a compilation of the best clinical and
theoretical work being done in psychoanalysis today. It is unique
in convening both theory and practice in productive dialogue,
reflecting on the encounter between psychoanalysis and the
tradition of hermeneutics. Collectively the essays argue that
Freud's legacy has shaped the way we think about not only
psychology and the nature of the self but also our understanding of
politics, culture, and even thought itself.
Contributors: Willy Apollon, Gifric; Karyn Ball, U of Alberta,
Edmonton; Raymond Bellour, Centre National de la Recherche
Scientifique; Patricia Gherovici, Philadelphia Lacan Study Group
and Seminar; Judith Feher-Gurewich, New York U; Jonathan Kahana,
New York U; A. Kiarina Kordela, Macalester College; Pablo
Kovalovsky, Clinica de Borde; Jean Laplanche, U of Lausanne; Laura
Marcus, U of Sussex; Andrew McNamara, Queensland U of Technology;
Claire Nahon; Yun Peng, U of Minnesota; Gerard Pommier, Nantes U;
Jean-Michel Rabate, Princeton U; Laurence A. Rickels, U of
California, Santa Barbara; Avital Ronell, New York U; Elke Siegel,
Yale U; Rei Terada, U of California, Irvine; Klaus Theweleit, U of
Freiburg-im-Breisgau; Paul Verhaege, U of Ghent, Belgium;
Silke-Maria Weineck, U of Michigan.
Catherine Liu is associate professor of comparative literature and
film and media studies at the University of California, Irvine.
John Mowitt is professor and chair ofcultural studies and
comparative literature at the University of Minnesota. Thomas
Pepper is associate professor of cultural studies and comparative
literature at the University of Minnesota. Jakki Spicer received
her Ph.D. in cultural studies and comparative literature from the
University of Minnesota.
This is not a book about sound. It is a study of sounds that aims
to write the resonance and response they call for. John Mowitt
seeks to critique existing models in the expanding field of sound
studies and draw attention to sound as an object of study that
solicits a humanistic approach encompassing many types of sounds,
not just readily classified examples such as speech, music,
industrial sounds, or codified signals. Mowitt is particularly
interested in the fact that beyond hearing and listening we "audit"
sounds and do so by drawing on paradigms of thought not easily
accommodated within the concept of "sound studies." To draw
attention to the ways in which sounds often are not perceived for
the social and political functions they serve, each chapter
presents a culturally resonant sound - including a whistle, an
echo, a gasp, and silence - to show how sounds enable critical
social and political concepts such as dialogue, privacy, memory,
social order, and art-making. Sounds: The Ambient Humanities
significantly engages, provokes, and contributes to the dynamic
field and inquiry of sound studies.
"Percussion" is an attempt--in the author's words--to make sense of
"senseless beating," to grasp how rhythm makes sense in music and
society. Both a scholar and a former professional drummer, John
Mowitt forges a striking encounter between cultural studies and new
musicology that seeks to lay out the "percussive field" through
which beating--specifically the backbeat that defines early
rock-and-roll--comes to matter for raced, urban subjects.
For Mowitt, percussion is both an experience of embodiment--making
contact in and on the skin--and a provocation for critical theory
itself. In delimiting the percussive field, he plays drumming off
against the musicological account of the beat, the sociological
account of shock and the psychoanalytical account of fantasy. In
the process he touches on such topics as the separation of slaves
and drums in the era of the slave trade, the migration of rural
blacks to urban centers of the North, the practice and politics of
"rough music," the links between interpellation and possession, the
general strike, beating fantasies, and the concept of the "skin
ego."
"Percussion" makes a fresh and provocative contribution to cultural
studies, new musicology, the history of the body and critical race
theory. It will be of interest to students of cultural studies and
critical theory as well as readers with a serious interest in the
history of music, rock-and-roll and drumming.
In a wide-ranging, cross-cultural, and transhistorical assessment,
John Mowitt examines radio's central place in the history of
twentieth-century critical theory. A communication apparatus that
was a founding technology of twentieth-century mass culture, radio
drew the attention of theoretical and philosophical writers such as
Jean-Paul Sartre, Walter Benjamin, Jacques Lacan, and Frantz Fanon,
who used it as a means to disseminate their ideas. For others, such
as Martin Heidegger, Theodor Adorno, and Raymond Williams, radio
served as an object of urgent reflection. Mowitt considers how the
radio came to matter, especially politically, to phenomenology,
existentialism, Hegelian Marxism, anticolonialism, psychoanalysis,
and cultural studies. The first systematic examination of the
relationship between philosophy and radio, this provocative work
also offers a fresh perspective on the role this technology plays
today.
The concept of textuality in recent decades has come to designate a
fundamentally contested terrain within a number of academic
disciplines. How it came to occupy this position is the subject of
John Mowitt's book, a critical genealogy of the social and
intellectual conditions that contributed to the emergence of the
textual object. Beginning with the Tel Quel group in France in the
sixties and seventies, Mowitt's study details how a certain
interdisciplinary crisis prompted academics to rethink the
conditions of cultural interpretation. Concentrating on three
disciplinary projects--literary analysis, film studies, and
musicology--Mowitt shows how textuality's emergence called into
question not merely the relations among these disciplines, but also
the cultural logic of disciplinary reason as such. At once an
effort to define the text and to explore and extend the theory of
textuality, this book illustrates why the notion of
interdisciplinary research has recently acquired such urgency. At
the same time, by emphasizing the genealogical dimension of the
textual object, Mowitt raises the issues of its antidisciplinary
character, and by extension its immediate pertinence for the
current debates over multiculturalism and Eurocentrism. Innovative,
historically astute and theoretically informed, this important book
will be indispensable reading for all scholars in literary and
cultural studies.
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