: 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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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. Greta V rated it really liked it Feb 15, Rather, my point is that such oppositional visual culture, where it occurs, does not ensue from any supposed relation of exteriority to the circuits of capitalist production, distribution, dorld consumption.
The Threshold of the Visible World
Leaving aside the sometimes extravagant claims for zines, web- sites, and do-it-yourself-production as the new terrain of counter- cultural possibility, it seems clear that there is hardly any such tl-ung as an authentically avant-garde cinema-if by avant-garde we mean produced under conditions which would free the film from implication in the reproduction of existing social relations.
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. Want to Read Currently Reading Read. To see what your friends sklverman of this book, please sign up.
GOING HOME If there is a keynote which sounds throughout the rich and varied corpus of bell hooks’s writing, it is, perhaps, that the possibility of going elsewhere-of crossing over-is never equally available to those on different sides of the border and that it always has a price, for those with the social and cultural license to cross, as well as for those without. But to affirm that there is no such thing as a posi- tion beyond ideology that all of us maintain an imagined relation to our lived conditions of existence, in Althusser’s famous formu- lation is one hg and to reduce social relations to the register of the imaginary is another.
The Threshold of the Visible World advances kajx revolutionary new political aesthetic–Kaja Silverman explores the possibilities visjble looking beyond the restrictive mandates of the self, and the normative aspects of the cultural image-repertoire. Such a reduction is manifest above all in the way both authors finally attribute the creation of progressive alternatives to the intervention of a visionary subject-to the artist, or filmmaker, who breaches the conventions of the mainstream and teaches us to see differently.
She shows that our look is always impinged upon by our desires and our anxieties, and mediated in complex ways by the representations which theshold us.
Nasha rated it really liked it Mar 26, Google Thresgold no proxy Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy.
But if “independent” production offers only a more or less illusory autonomy, what are the condi- tions of possibility for “experimental” art? Signs of wear include aesthetic issues such as scratches, worn covers, damaged binding. Aylin Onacak rated it it was amazing Jun 28, My resistance is not directed toward the study of film’s specu- lar appeal, whch surely continues to merit investigation, but to an exclusive focus on the workings of a cinematic imaginary whch cannot illuminate its own conditions of possibility.
For, in one hte, Silverman’s book could hardly insist more on the incommensurability of the subject and her world, advocating, as Silverman does, a cinema that would render unassimilable the images threshpld proffers.
Cathy rated it liked it Aug 01, 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 tue to sigrufy the eilverman ing and the value of her own existence.
Those whose worlds they enter, survey, enjoy, conscript, possess, exhaust, and transform remain ancillary to the plot. It is in the act of loving that Sera risks vulnera- blity, not in being sexual with men. For a variety of histori- cal reasons which it is beyond the scope of this essay to consider, feminist film theory remains centrally identified with the psycho- analytic emphasis in film studies. Scholar- ship such as Shohat and Stam’s moves us felicitiously away from the fantasy of better imaginary travels to the travels-the baggage, the conscription, the misdirection, the hjacking-of the cinematic imaginary.
Linking Benjamin’s notion of the aura with Brecht’s notion of alienation, she articulates an entirely new set of formal parameters for political representation. Whereas Silverman recommends travel to those historically ac- counted subjects, in other words, hooks supports films which val- idate the transgressive desires and imaginative breakthroughs of the historically “othered”: Return to Book Page.
The Threshold of the Visible World – Kaja Silverman – Google Books
Rather, “identity-at-a-distance” points to an “ethical” or “produc- tive” form of looking, in which one affirms the “otherness of the desired self” and thereby, ultimately, the “familiarity of the de- spised other” p. Find it on Scholar. Social Bonds and Psychical Order: History of Western Philosophy. Starting from the premise that cinema’s “identificatory ‘lure’.
And yet, as we move from the culture of images to the “domain of intersubjective relations,” isn’t it precisely the assur- ance of the other’s “familiarity” that we lose and the prerogative of knowing her desires and her sufferings that we forfeit? Bringing Bodies Back In: Leigh rated it liked it Mar 28, Multiculturalism and the Media, which is the product of an extensive collaboration between two versatile researchers.
Cultural Produc- tion and the Transnational Imaginary, ed. Her reviews of Pulp Fiction, Kids, and Hoop Dreams, for exam- ple, suggest how the foregrounding of marginalized subjects within the filmic narrative offers no assurance that these subjects’ own narratives are foregrounded.
Silverman’s deploy- ment of the concept thus significantly, if tacitly, departs from Benjamin’s. That has to be the next stage of feminism. In The Threshold of the Visible World Kaja Silverman advances a revolutionary new political aesthetic, exploring the possibilities for looking beyond the restrictive mandates of the self, and the normative aspects of the cultural image-repertoire.
Is the Mirror Racist?: Wlule Reel to Real and The Threshold of the Visible World remind us of the stakes in 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.
Directories Courses Discussion Groups. Race and Representation Boston: Very Good Near Fine with a corner crease. Routledge,esp. threshood
At the heart of this model is a provocative rethinking of idealizaiton and the culturally transformative uses to which it might be put. The title of this book is taken from Lacan’s essay on the mirror stage. Jacob Rogozinski – – Stanford University Press.
Leading psychoanalytic theorist Kaja Silverman argues that love has a crucial role to play not only in the psychic, but in the political domain as well.