This essay focuses on the dialectics of The Pervert’s Guide to Cinema and The Pervert’s Guide to Ideology. I argue both films translate into a dialectical encounter between cinema and performance. Each documentary’s filmic texture offers a look at the shifting ideologies of the screened stage and critical theory. Both films use Jacques Lacan and Slavoj Žižek as intermediary figures between elusive psychoanalytic/materialist ideas and performance. The Pervert’s Guide to Cinema does it in a glossy, beautifully filmed (...) documentary, whereas The Pervert’s Guide to Ideology presents itself as its poor doppelganger. I propose here looking at the dialectical nature of both films through Žižek’s performances: one of them evincing presentness and one a terrifying void. I will argue that through this lack and through the dialectic between the two, ideologies of cinema and performance emerge. The dialectic of Žižek’s performances and Fiennes’ films reveals the relationship between materialism and Lacanian psychoanalytic thought as well as the relationship between performance and cinema. Performance and cinema are entangled and when encountered in the two documentaries they offer something new leading to, as Žižek would say when discussing The Matrix, “A third pill!”. (shrink)

In a critical reading of my plenary talk at the Law and Critique Conference in 2007, Sara Ahmed challenges my claim that it is an “empirical fact” that liberal multiculturalism is hegemonic. Her first step is to emphasize the distinction between the semblance of hegemony and actual hegemony: Hegemony is not really reducible to facts as it involves semblance, fantasy and illusion, being a question of how things appear and the gap between appearance and how bodies are distributed. To read (...) hegemony we have to distrust how things appear. Indeed, what is striking about Zizek’s retort is how much his reading of ‘political correctness’ and ‘liberal multiculturalism’ involved a certain literalism, as if the prohibition of speech acts that are not based on respecting the other’s difference are ‘really’ what is prohibited, or as if the prohibition is simply real by virtue of being articulated within public culture. So the speech act, ‘we must support the other’s difference’ is read as hegemonic, is taken literally as a sign not only that it is compulsory to support the other’s difference, but we are not allowed to refuse this support. The speech act is read as doing what it says. In order to re-consider the effects of such injunctions and prohibitions, I have introduced a new class of what I call non-performatives: speech acts that do not do what they say, that do not bring into effect that which they name. Could the speech work to create an illusion that we do support the other’s difference, which might work by not bringing such support into existence? (shrink)

Two topics determine today's liberal tolerant attitude towards Others: the respect of Otherness and the obsessive fear of harassment: the Other is OK insofar as its presence is not intrusive, insofar as the Other is not really Other. The central human right in late-capitalist society, namely the right to be free from all harassment by the Other including the violent imposition of ethical norms, contrasts sharply with the violent imposition of divine Mosaic law – the Decalogue – from which the (...) idea of human rights ultimately derives. The underlying discursive shift can be analyzed with the help of Lacan: the discourse of the Master had been replaced by university discourse. While the Master's decision is per se violent, university discourse is enunciated from the position of neutral Knowledge. The truth of the university discourse is power: the constitutive lie of the university discourse is that it disavows its performative dimension, presenting what effectively amounts to a political decision based on power as a simple insight into the factual state of things. (shrink)

The reactions to my Lenin-book for the most part move between the standard liberal anti-Communism – how do I dare to rehabilitate a mass murderer, etc. – and an apparently more friendly, but, with regard to its consequences, much more dangerous “friendly” reception, which performs a domestification of my theory, its transformation into “provocations” which are not really “meant seriously,” but aim at awakening us from the democratic-dogmatic slumber and thus contribute to the revitalization of democracy… This is how the (...) establishment likes “subversive” theorists to be: turned into harmless gadflies who bite us and thus awaken us to inconsistencies and imperfection of our democratic enterprise – God forbid us to take their project seriously and try to LIVE them. Both reactions are totally predictable and, as such, not very interesting. When, as a reply to my thesis on Lenin’s missed chances, I read: “Sure, he could have murdered whole Russian nation along with some neighbors”; when one reacts to my commentary on Lenin with “We could just as easy comment in such a way Mein Kampf”; then such style of critique cannot but remind me of my youth in Socialist Yugoslavia where I was unemployed for years and never allowed to teach, and where my reference to Freud and Lacan was greeted by exactly the same words as those of one of my critics: “It would be embarrassingly funny if it wasn’t dangerous.” All I can say to this is that I sincerely welcome the rejection of my book by people who are able to write such slanderous lies: if they were to display even a minimum of sympathy for my work, I would be morally deeply ashamed. (shrink)

The figure of the auteur continues to haunt the study of film, resisting both the poststructuralist charges that pointed to its absence and the histories of production demonstrating its pitfalls. In an era defined by the instability of identities and the recycling of works, Performing Authorship offers a refreshingly new take on the cinematic auteur, proposing that the challenges that once accelerated this figure's critical demise should instead pump new life into it. Performing Authorship is an illuminating analysis of films (...) by Jean-Luc Godard, Woody Allen, Agnes Varda, Orson Welles, Jean Rouch, Eduardo Coutinho and Sarah Turner that shows directors shifting between opposite movements towards authorial assertion and divestiture, palpability and disappearance, exposure and masking. In making this journey, Cecilia Sayad argues, the film author is not necessarily at the work's origin, nor does it constitute the end product. What the new concept of performing authorship describes is the making and unmaking of a subject"--Publisher website. (shrink)

This article focuses on three recent controversies in which Žižek has been embroiled and for which he has taken positions that rest on the notion of antagonism. His views on Eurocentrism, the European refugee crisis and trans politics have been the subject of notable disapproval, if not denunciation. Critics reproach him for being Eurocentric, racist and transphobic, charges which he has repeatedly countered. The article will examine the differing theoretical and political positions in these debates, underlining what Žižek’s critics miss (...) or misunderstand about his notion of antagonism. While I side firmly with Žižek on the substance of these issues, I nonetheless consider the extent to which at least part of the disagreement here centres on the performative rather than the strictly “theoretical”: Might his critics be reacting to his overexposure? Could such overexposure be interpreted as an attempt at having the last word? And to what extent does the antagonistic form of Žižek’s interventions militate against their theoretical content? (shrink)

Michael Haneke is one of the most important directors working in Europe today, with films such as Funny Games (1997), Code Unknown (2000), and Hidden (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of The Seventh Continent (1989) and Time of the Wolf (2003) a dark strain of optimism emerges, releasing each from its terrible and (...) inescapable guilt. It is this contingent and unlikely possibility that we find in Haneke's cinema: a utopian Europe. This collection celebrates, explicates, and sometimes challenges the worldview of Haneke's films. It examines the director's central themes and preoccupations--bourgeois alienation, modes and critiques of spectatorship, the role of the media--and analyzes otherwise marginalized aspects of his work, such as the function of performance and stardom, early Austrian television productions, the romanticism of The Piano Teacher (2001), and the 2007 shot-for-shot remake of Funny Games. (shrink)

Drawing on the critical theories of Jean Baudrillard, Cinema of Simulation performs close readings of key films to examine cinematic visions of mutational reality.

Introduction -- Physical cinema. The end of the other -- The immaterial difference : Werner Herzog revisited -- The reality of the medium. Conceptual realism in Land in trance and I am Cuba -- The work of art in progress : an analysis of delicate crime -- The ethics of desire. The realm of the senses, the ethical imperative and the politics of pleasure -- Hara and Kobayashi's "private documentaries" -- The self-performing auteur : ethics in João César Monteiro.

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser (...) concedes that there exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

Michael Haneke’s film Caché explores the psychological and social effects of the intrusion of the immigrant Other into privileged Western capitalist society. Caché allegorises the intrusion of the immigrant Other through a series of intrusive and threatening non-diegetic surveillance tapes delivered to a wealthy Parisian family’s home, the subject of the surveillance. Haneke’s film undertakes a significant critique of the increasing right-wing anti-immigrant sentiment driving neo-liberal politics and ideology in the capitalist West. Here, Caché confronts the viewer with their complicity (...) in the disavowal and subjugation of the immigrant Other within their own social edifice. The significance of Caché is the film’s potential to facilitate the viewers’ confrontation with the disavowed and repressed truth of the social edifice. This confrontation enables the viewer to assume an emancipatory subjectivity which extends beyond Caché’s cinematic frame into the viewers’ own social edifice. I argue that Haneke’s film has the potential to radically alter the way viewers relate to the diegetic reality and, through the figuration of cinema, to their own social edifice. Ultimately, Caché brings to the fore the disavowed truth of both capitalist society and of privileged subjectivities, demanding a new politics based on the excluded immigrant Other. (shrink)

Qu'on le veuille ou non, depuis qu'il est sorti de la clandestinite, le cinema porno est devenu l'un des grands genres cinematographiques du divertissement populaire, a cote du thriller, du film d'horreur, de la comedie sentimentale etc. Il est tout a fait insuffisant de definir un genre par les reactions qu'il est cense susciter chez les spectateurs (en l'occurrence l'excitation sexuelle). De meme, il est insuffisant de le definir par son iconographie i.e. les differentes performances sexuelles et la maniere (...) dont elles sont filmees. Il est tout simplement faux d'affirmer que les films pornographiques se ressemblent tous et ne racontent rien. Qu'est-ce que nous racontent donc les films pornos? (shrink)

Current philosophies of art remain sadly dominated by visions of its end and lamentations of decline. Defining the very notions of art and the aesthetic as special products of Western modernity, they suggest that postmodern challenges to traditional high culture pose a devastating danger to Art's future. Richard Shusterman's new book cuts through the seductive confusions of these views by tracing the earthy roots of aesthetic experience and showing how the recent flourishing of aesthetic forms outside modernity's sacralized realm of (...) fine art evince the persistent presence of an artistic impulse far deeper and more durable than the modernist moment. Performing Live defends the abiding power of aesthetic experience by exploring its diverse roles, methods, and meanings, especially in fields marginal to traditional aesthetics but now most vibrantly alive in today's culture and new media. Ranging from rap, techno, and country music to cinema, cyberspace and urban design, Shusterman develops his radical theory of "somaesthetics," charting the complex network of bodily arts so prominent in contemporary life and self-styling. By blending concrete aesthetic analysis with insightful social critique, Shusterman, a well-known pragmatist philosopher, provides a rich menu and critical guide for today's pursuit of the art of living. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.1 (2001) 73-90 [Access article in PDF] The Leader's Two BodiesSlavoj Zizek's Postmodern Political Theology Claudia Breger Over the course of the last decade, Slavoj Zizek and his "Slovenian Lacanian school" have gained renown in the Western theory market. Academics are fascinated not only by Zizek's performances as a speaker, his nondogmatic approach to issues of genre and (inter)mediality, 1 and the "literary" character of his theoretical texts (...) [Laclau, Preface xii], but also by the political turn given to psychoanalysis by the "Slovenian school." Already in his preface to Zizek's The Sublime Object of Ideology (1989), Ernesto Laclau wrote that this school's work made Lacanian theory "one of the principal reference points of the so-called 'Slovenia spring'—that is to say the democratization campaigns that have taken place in recent years" [xi]. More than ten years later—after a decade of authoritarian rule, war, and genocide in former Yugoslavia—recent revolutionary events in Serbia once more allow one to hope for a thorough democratization of the region. In a newspaper article evaluating the uprising, however, Zizek warned that these hopes might be premature: while Milosevic could find his new role as "a Serbian Jesus Christ," taking upon him all the "sins" committed by his people, Kostunica and his "democratic" nationalism might represent "nothing but Milosevic in the 'normal' version, without the excess" [Zizek, "Gewalt"]. 2Zizek was not alone in warning that the new government in Yugoslavia might not bring an end to Serbian nationalist politics. The pessimistic scenario Zizek evoked on this occasion, however, was not simply the result of his evaluation of the current political constellation in Serbia. Rather, the fantasy of the necessary return of the leader is connected to his political theory—a theory that does not allow for more optimistic scenarios of democratization and the diminution of nationalism in society. My reading of Zizek's work thus argues for a reevaluation of his theory in terms of its implicit authoritarian politics. The need for such a reevaluation is also suggested by Laclau toward the end of his recent exchange with Judith Butler and Zizek when he admits that "the more our discussions progressed, the more I realized that my sympathy for Zizek's politics was largely the result of a mirage" [Laclau, "Constructing Universality" 292]. Laclau now criticizes Zizek's radical Marxist rhetoric by suggesting that he "wants to do away with liberal democratic regimes" without specifying a political alternative [289], and describes Zizek's discourse as "schizophrenically split between a highly sophisticated Lacanian analysis and an insufficiently deconstructed traditional Marxism" [205]. On [End Page 73] the other hand, he also problematizes Zizek's "psychoanalytic discourse" as "not truly political" [289]. My argument primarily starts from this latter point: the antidemocratic—and, as I will argue, both antifeminist and anti-Semitic—moment of Zizek's theory is to be located not only in the way he performs Marxism, but also in the way he performs Lacanian psychoanalysis. While, in other words, Zizek's skepticism vis-à-vis democracy is obviously informed by, and inseparable from, Marxist critiques of "liberal," "representative" democracy, his failure to elaborate alternative visions of political change towards egalitarian and/or plural scenarios of society cannot be explained solely by his Marxist perspective. Rather, it is Zizek's reading of Lacanian psychoanalysis that does not allow for revisions of the Marxist paradigm toward, for example, a "radical democracy" as suggested by Laclau and Chantal Mouffe in their Hegemony and Socialist Strategy.In a chapter entitled "Formal Democracy and Its Discontents" in Looking Awry (1992), Zizek notes that "Lacan predicted a new rise of racism for the coming decades" as early as the 1960s [162]. 3 Zizek interprets this statement in the context of a "fundamental impasse of democracy" [162] created by the fact that the abstraction proper to democracy can never dissolve the "substantial ties"—of ethnicity, nation, and so on—that it negates [164]. 4 According to Zizek, "this constitutive paradox" has to be assumed: "The democratic attitude is always based upon a certain fetishistic... (shrink)

In his 1979 foreword to The World Viewed, Stanley Cavell remarks on the curiousrelationship between Heidegger and cinema . Cavell is inspired to do so byTerrence Malick's Days of Heaven , a film that not only presents us with images ofpreternatural beauty, but also acknowledges the self-referential character of thecinematic image . For Cavell, Malick's films have a formal radiance thatsuggest something of Heidegger's thinking of the relationship between Being and beings,the radiant self-showing of things in luminous appearance . (...) Days of Heaven doesindeed have a metaphysical vision of the world, but 'one feels that one has never quiteseen the scene of human existence-call it the arena between earth and heavenquite realized this way on film before' . As Cavell observes, however,the relationship between Heidegger's philosophy and Malick's films seems to challengeboth philosophers and film-theorists. The film-theorists struggle to show how Heidegger isrelevant to the experience of cinema, while the philosophers grapple with the question ofcinema and aesthetics, precisely because film puts into question traditional concepts ofvisual art, as Walter Benjamin showed long ago .In what follows, I take up Cavell's invitation to think about the relationshipbetween Heidegger and film by considering Malick's 1998 masterpiece, The Thin Red Line.The question I shall explore is whether we should describe The Thin Red Line as'Heideggerian Cinema'. Along the way I discuss two different approaches to the film: a'Heideggerian' approach that reads the film as exemplifying Heideggerian themes; and a 'film as philosophy' approach arguing that, while the film is philosophical, we should refrain from reading it in relation toany particular philosophical framework. In conclusion, I offer some brief remarks abouthow The Thin Red Line can be regarded as 'Heideggerian cinema,' not because we need toread Heidegger in order to understand it, but because Malick's film performs a cinematicpoesis, a revealing of world through image,sound, and word. (shrink)

Gilles Deleuze published two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Engaging with a wide range of film styles, histories and theories, Deleuze's writings treat film as a new form of philosophy. This ciné-philosophy offers a startling new way of understanding the complexities of the moving image, its technical concerns and constraints as well as its psychological and political outcomes. Deleuze and Cinema presents a step-by-step guide to the key concepts behind (...) Deleuze's revolutionary theory of the cinema. Exploring ideas through key directors and genres, Deleuze's method is illustrated with examples drawn from American, British, continental European, Russian and Asian cinema. Deleuze and Cinema provides the first introductory guide to Deleuze's radical methodology for screen analysis. It will be invaluable for students and teachers of film theory, film history and film forms. (shrink)

Whereas recent commentators have suggested that consumer demand, typecasting and marketing lead performers to maintain continuities across films, I argue that cinema has historically made it difficult to subtract performers from roles, leading to relatively constant comportment, and that casting, marketing and audience preference are not only causes but also effects of this. I do so using thought experiments and empirical experiments, for example, by pondering why people say they see Jesus in paintings of him and rarely mention models, (...) but stress that they see actors when encountering photographic stills of performers portraying him. Arguably, this relates to what photographs have historically come to mean, and these meanings would make it difficult for audiences to subtract and not see the actor. Based on such thinking, along with what filmmakers have said and done, and adding to classic accounts of Cavell, Santayana and others, I build the case that cinematic media invite performers to play themselves. (shrink)

Performing Difference is a compilation of seventeen essays from some of the leading scholars in history, criticism, film, and theater studies. Each author examines the portrayal of groups and individuals that have been traditionally marginalized or excluded from dominant historical narratives. As a meeting point of several fields of study, this book is organized around three meta-themes: race, gender, and genocide. Included are analyses of films and theatrical productions from the United States, as well as essays on cinema from (...) Southern and Central America, Europe, and the Middle East. Topically, the contributing authors write about the depiction of race, ethnicities, gender and sexual orientation, and genocides. This volume assesses how the performing arts have aided in the social construction of the "other" in differing contexts. Its fundamental premise is that performance is powerful, and its unifying thesis is that the arts remain a major forum for advancing a more nuanced and humane vision of social outcasts, not only in the realm of national imaginations, but in social relations as well."--Jacket. (shrink)

Following its invention, cinema was initially conceived and approached as photographed theatre. After a reasonable period of self-establishment, however, it has become commonplace that cinema essentially differs from theatre, and is thus a new and independent dramatic art form. Eventually, while the advent of performance art created the illusion of a basic affinity to theatre, on the grounds of spectators actually experiencing real bodies on a stage, there has been a broadening of the alleged gap between theatre and (...) cinema, in which the spectator’s experience is mediated by images of actors projected on a screen. I reconsider here both the initial and eventual approaches, reflecting my own intuition that, without ignoring fundamental differences, a feature film is a recording of a fictional world formulated in the medium of theatre. It has to be decoded and interpreted, therefore, as a theatrical text, since a recording does not change the nature of the recorded text. Consequently, differences between cinema and theatre are fundamentally the result of technical constraints and advantages. I support these theses by a thorough analysis and critic of Roland Barthes’ seminal article ‘Rhetoric of the image’ on still photography. (shrink)

Introduction -- Girls and other incomplete things: on archaeological method -- Gesture: cinema muto mutato -- Dim stockings and pornography: community, spectacle and the example -- Cinema as laboratory: on insects and the anthropological machine -- When the assistants profane cinema -- Ex-centric cinema.

In 1936 Samuel Beckett wrote a letter to Sergei Eisenstein - the legendary director of such films as Battleship Potemkin - expressing his own desire to work in the lost tradition of silent film. Drawing on substantial archival material, this is the first book to examine comprehensively the full extent of Beckett's engagement with cinema and its influence on his work for stage and screen. Examining his writing on second wave modernist cinema, including the work of directors such (...) as Eisenstein, Godard, Griffith and Bresson as well as performers such as Buster Keaton, Charlie Chaplin and Greta Garbo, the book reveals film art to be central to Beckett's modernist aesthetic. In this way, Beckett is revealed to be part of a wider modernist theatrical tradition that stood as an inheritor of early 20th century cinema, alongside Meyerhold, Brecht and Artaud. (shrink)

Da ficção científica para a ficção religiosa: ideias para pensar o cinema de ficção científica como o culto da religião vivida (From Science Fiction to Religious Fiction: ideas to think on Science Fiction cinema as the cult of lived religion). DOI - 10.5752/P.2175-5841.2012v10n26p552 Este artigo tem como objetivo refletir sobre a chamada religião vivida como uma forma de repensar o papel da teologia e das ciências da religião na contemporaneidade. O estudo da religião vivida será investigado na relação (...) entre o cinema de ficção científica e a religião, propondo que, nesta relação, há uma forma de religião vivida intensa e viva. Sugere-se, assim, que o cinema seja hoje uma forma de culto e ritual, cumprindo parte do papel que os mitos e ritos sagrados desempenham na vida das pessoas, ao longo dos tempos. O artigo contém quatro partes: introdução sobre a religião vivida; religião vivida no caso específico do cinema; o cinema de ficção científica como uma forma de religião; aplicação da teoria no filme “Contato” (Robert Zemeckis, USA 1997); conclusões sobre a vivência religiosa em forma de mito e rito nos filmes de ficção científica e as consequências disso para a teologia e as ciências da religião. Palavras-chave : Cinema de ficção científica. Religião. Culto e rito. Religião vivida.: This article aims at reflecting about the so-called lived religion as a way of rethinking the role of theology and religion in contemporary society. The study of the lived religion will investigate the relationship between the cinema of science fiction and religion, suggesting that, in this relation, there is particular and intensive form of lived religion. The present article suggests that cinema today is a form of cult and ritual which performs part of the role that sacred rites play in the lives of people along the time. The article contains four parts: introduction about the lived religion; lived religion in the specific case of cinema; the cinema of science fiction as a form of religion; the application of theory in the movie “Contact” (Robert Zemeckis, USA 1997); conclusions on the religious experience in the form of myth and rite in science fiction movies as well as the consequences for theology and religious studies. Keywords : Science fiction cinema. Religion. Cult and rite. Lived religion. (shrink)

Archaeologists have been interested in Hollywood films for a few decades. What basically interested them was the theme of how cinema misperceives the practice of archaeology and its object of study (the past). In this paper I focus on How to Train Your Dragon (2010), 3-D animated film about Vikings for children. A film is always already a meta-film. Every film is, to use Hegelian distinction, a story in itself, presents more or less coherent story. At the same time, (...) a film is for itself, a meta-film, a meta-story which reflects on and encapsulates a more general context part of which is a particular film. In this paper both levels are scrutinised with regard to How to Train Your Dragon. My attention is paid especially to the ideological aspects of the film which presents a story about some vision of the past. It is an attempt of showing how archaeology, or more generally, the past is used to mask and stage at the same time elements of contemporary politics. (shrink)

In the spirit of praxis, I connect Lacanian theory with the practice of making a video. Lucky in Savannah, which is an experimental adaptation of “Lucky’s speech” from Samuel Beckett’s masterpiece, Waiting for Godot —"[t]he prototype of a modernist text” according to Slavoj Žižek. For Žižek, Beckett—rather than Shakespeare—is “a kenotic writer, a writer of utter self-emptying of subjectivity, of its reduction to a minimal difference”. Will Greenshields argues that Žižek goes further than Lacan, and even performs an anti-Žižekian move (...) when choosing Beckett over Joyce: “While for Joyce the beginning and end were so close as to be indistinguishable…for Beckett there is such a thing as a beginning, a bare minimum, and if the truly revolutionary act is to be achieved, one must return to it”. For these reasons, it is certainly worthwhile to consider Beckett avec Žižek and others. In my video, I employ a Beckettian aesthetic informed by Lacanian psychoanalysis, which leads me to the following question: Is Lucky's speech an example of “full speech” par excellence, or is it a Real manifestation of the sinthome as "the meaningless letter that immediately procures jouis-sense, ‘enjoyment-in-meaning,' 'enjoy-meant'"? (shrink)

This self-interview is the responsive document coming forth from the post-conference camaraderie. The four “Žižekian Performers” – found with themselves personally, creatively, and academically following the 2014 International Žižek Studies Conference. As a self-interview document that mimics the gameplay of Žižek himself in his own self-interview from his The Metastases of Enjoyment where he puts on the guise of the “big Other” to examine himself, we four performers here examine ourselves, each other, our work, and each other’s work to produce (...) this post-partum collaborative essay. In our collective project, we outline our individual performances from the Conference, each stake a claim and personal response to the critical question of what is a “Žižekian Performance,” and identify and discuss other synergies that emerged and exist amid our work in the form of cross-examinations and self-examinations. Ultimately, this group’s self-interview blazes the way for performance to interpenetrate the “Žižekian” and to intervene wherever theory, investigation, and presentation may lie. (shrink)

Part of Slavoj Žižek's philosophical background is located in German idealism. In this article, his relation to German idealism is critically assessed, and the key to this assessment is found in Žižek's favorite medium: film. In film, “reality” can only appear as a new image, replacing an old “reality” as fictitious, the “real” itself, however, remains unreachable by thought. At this point, a parallel with German idealism appears: it was Kant who turned reality into a “desert,” and Hegel and Schelling (...) who tried to retrieve it. Siding with Adorno and Heidegger, Žižek reaches a “negative” conclusion that does justice to neither German idealism nor indeed Schelling. His “use” of German idealism is one-sided and selective, regardless of the fact that it allows him to formulate an adequate critique of Western society. Perceiving a parallel between Žižek's conception of cinema and Kantian imagination [Einbildungskraft], the final conclusion is that he approaches German idealism not in terms of its conceptual system-character, but in terms of sensual multiplicity, not seeking unity in it, but precisely fragmentation. (shrink)

Philosophical and technoculture studies surrounding the existential understanding of the human–technology–world experience have seen a slow but steady increase that makes a turn to material hermeneutics in the second decade of the twenty-first century (Ihde in Postphenomenology: essays in the postmodern context. Northwestern University Press, Evanston, 1993; Capurro in AI Soc 25(1):35–42, 2010; Romele in Digital hermeneutics: philosophical investigations in new media and technologies. Routledge, Abingdon, 2020; among others). This renewed focus makes sense because human–technology–world experiences need to be interpreted. (...) And many of these are more complicated to study, precisely because technology is at the root of the experiences. One interesting subset of technologies is media technologies, also called digital media, which intertwines the device and the content to mediate together in the world (Irwin in Digital media: human-technology connection. Lexington Books, Lanham, 2016). Visual media technologies and media content, together, through what is called moving image technologies, create virtual role-playing, virtual and augmented reality, video games, and social media focused worlds that have become central experiences in contemporary culture. Just as image-based scientific instruments read the world in different ways, so to do these visual mediated experiences. How might this comingled “reading” of technology explain the digital film language and experience? I contend that understanding the existential “early” film experience helps understand the new age of cinema, with implications for digital media, digital representation of the visual, and technoscience and technoculture studies. The material hermeneutics perspective called postphenomenology is one way to study these visually focused human–technology–world perceptual and interpretive experiences. Don Ihde’s methodological framework (1990, 1993, 1996, 2002, 2010, 2012, 2016, 2019) is both an idea from technoscience studies and a set of nuanced vocabulary that helps to explore and reveal variations, patterns, and trajectories of the whole-body experience of technology. This use case will first explore traditional cinema and then the “new age” term “moving image”, to learn more about this complicated and radically transforming technological experience. Work by Don Ihde and Vivian Sobchack is considered. (shrink)

Resumen La figura femenina en el arte cinematográfico ha sido mostrada mediante arquetipos y cumpliendo distintas funciones. Nos proponemos en este estudio analizar los personajes femeninos por medio de la narrativa audiovisual en dos películas emblemáticas de la cinematografía de Hitchcock: Recuerda y Vértigo, en las que la mujer se contempla como empoderada, pero también sometida, llegando a una negación de su propia identidad. Consideramos que la forma del tratamiento de la mujer en el cine de dicha época radica en (...) la situación social de la misma, sufriendo un tratamiento discriminatorio, que es admitido por los personajes femeninos justificándolo en un enamoramiento, que anula la propia personalidad. Abstract The female figure in cinematographic art has been shown through archetypes and performing different functions. We propose in this study to analyze female characters through the audiovisual narrative in two emblematic films of Hitchcock’s cinematography: Spellbound and Vertigo, in which women are seen as empowered, but also subjected to a denial of their own identity. We consider that the treatment of women in the cinema of that time lies in the social situation of the same, suffering a discriminatory treatment, which is admitted by the female characters justifying it in a crush, which annuls the own personality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.1 (2001) 73-90 [Access article in PDF] The Leader's Two BodiesSlavoj Zizek's Postmodern Political Theology Claudia Breger Over the course of the last decade, Slavoj Zizek and his "Slovenian Lacanian school" have gained renown in the Western theory market. Academics are fascinated not only by Zizek's performances as a speaker, his nondogmatic approach to issues of genre and (inter)mediality, 1 and the "literary" character of his theoretical texts (...) [Laclau, Preface xii], but also by the political turn given to psychoanalysis by the "Slovenian school." Already in his preface to Zizek's The Sublime Object of Ideology (1989), Ernesto Laclau wrote that this school's work made Lacanian theory "one of the principal reference points of the so-called 'Slovenia spring'—that is to say the democratization campaigns that have taken place in recent years" [xi]. More than ten years later—after a decade of authoritarian rule, war, and genocide in former Yugoslavia—recent revolutionary events in Serbia once more allow one to hope for a thorough democratization of the region. In a newspaper article evaluating the uprising, however, Zizek warned that these hopes might be premature: while Milosevic could find his new role as "a Serbian Jesus Christ," taking upon him all the "sins" committed by his people, Kostunica and his "democratic" nationalism might represent "nothing but Milosevic in the 'normal' version, without the excess" [Zizek, "Gewalt"]. 2Zizek was not alone in warning that the new government in Yugoslavia might not bring an end to Serbian nationalist politics. The pessimistic scenario Zizek evoked on this occasion, however, was not simply the result of his evaluation of the current political constellation in Serbia. Rather, the fantasy of the necessary return of the leader is connected to his political theory—a theory that does not allow for more optimistic scenarios of democratization and the diminution of nationalism in society. My reading of Zizek's work thus argues for a reevaluation of his theory in terms of its implicit authoritarian politics. The need for such a reevaluation is also suggested by Laclau toward the end of his recent exchange with Judith Butler and Zizek when he admits that "the more our discussions progressed, the more I realized that my sympathy for Zizek's politics was largely the result of a mirage" [Laclau, "Constructing Universality" 292]. Laclau now criticizes Zizek's radical Marxist rhetoric by suggesting that he "wants to do away with liberal democratic regimes" without specifying a political alternative [289], and describes Zizek's discourse as "schizophrenically split between a highly sophisticated Lacanian analysis and an insufficiently deconstructed traditional Marxism" [205]. On [End Page 73] the other hand, he also problematizes Zizek's "psychoanalytic discourse" as "not truly political" [289]. My argument primarily starts from this latter point: the antidemocratic—and, as I will argue, both antifeminist and anti-Semitic—moment of Zizek's theory is to be located not only in the way he performs Marxism, but also in the way he performs Lacanian psychoanalysis. While, in other words, Zizek's skepticism vis-à-vis democracy is obviously informed by, and inseparable from, Marxist critiques of "liberal," "representative" democracy, his failure to elaborate alternative visions of political change towards egalitarian and/or plural scenarios of society cannot be explained solely by his Marxist perspective. Rather, it is Zizek's reading of Lacanian psychoanalysis that does not allow for revisions of the Marxist paradigm toward, for example, a "radical democracy" as suggested by Laclau and Chantal Mouffe in their Hegemony and Socialist Strategy.In a chapter entitled "Formal Democracy and Its Discontents" in Looking Awry (1992), Zizek notes that "Lacan predicted a new rise of racism for the coming decades" as early as the 1960s [162]. 3 Zizek interprets this statement in the context of a "fundamental impasse of democracy" [162] created by the fact that the abstraction proper to democracy can never dissolve the "substantial ties"—of ethnicity, nation, and so on—that it negates [164]. 4 According to Zizek, "this constitutive paradox" has to be assumed: "The democratic attitude is always based upon a certain fetishistic... (shrink)

In conventional identity politics subjective differences are understood negatively, as gaps to be overcome, as lacks of sameness, as evidence of failed or incomplete unity. In _Alterity Politics _Jeffrey T. Nealon argues instead for a concrete and ethical understanding of community, one that requires response, action, and performance instead of passive resentment and unproductive mourning for a whole that cannot be attained. While discussing the work of others who have refused to thematize difference in terms of the possibility or impossibility (...) of sameness—Levinas, Butler, Derrida, Foucault, Deleuze, Guattari, Zizek, Jameson, Heidegger, Bakhtin—Nealon argues that ethics is constituted as inexorable affirmative response to different identities, not through an inability to understand or totalize the other. _Alterity Politics_ combines this theoretical itinerary with crucial discussions of specific and diverse sites of literary and cultural production—the work of William S. Burroughs, Amiri Baraka, Andy Warhol, Ishmael Reed, Rush Limbaugh, and Vincent Van Gogh—along with analyses of the social formation of subjects as found in identity politics, and in multicultural and whiteness studies. In the process, Nealon takes on a wide variety of issues including white male anger, the ethical questions raised by drug addiction, the nature of literary meaning, and the concept of “becoming-black.” In seeking to build an ethical structure around poststructuralist discourse and to revitalize the applied use of theoretical concepts to notions of performative identity, _Alterity Politics_ marks a decisive intervention in literary theory, cultural studies, twentieth-century philosophy, and performance studies. (shrink)

Lo spettro di un paradosso si aggira nella Galassia Lumière, attraversando tenacemente i sette lemmi chiave (rilocazione, reliquie e icone, assemblage, espansione, ipertopia, display, performance) che scandiscono la struttura interna dell’ultimo libro di Francesco Casetti: come può mantenersi un’identità nel cambiamento? Come può il cinema pur deformandosi nel corso del tempo rimanere sempre lo stesso? Da questo paradossale interrogativo, che innerva il volume dal principio alla fine, sorge s...

The films and live cinema of Vincent Moon are considered in this chapter as ‘psychedelic’: a form of filmmaking and film performances that can open the doors of perception to invisible realms of percepts, affects and durations that are beyond or below ordinary human perception. According to Paul Schrader, films can evoke such spiritual dimensions, in particular through what he called the transcendental style of film, and what Gilles Deleuze termed the time-image. As an audio-visual ethnographer of world religions (...) who is distinctly influenced by shamanic and animistic traditions, Moon brings the transcendental style back to its plane of immanence. His live cinema performances have a ritualistic and ecstatic aspect that recalls the esoteric history of haunted media. Moon's enthralling film performances induce altered states of mind, tap into spiritual realities and immerse the audience in magic. (shrink)

Film is a powerful medium that can influence audience’s perceptions, values and ideals. As filmmaking evolved into a serious art form, it became a powerful tool for telling stories that require us to re-examine our ideology. While it remains popular to adapt a literary novel or text for the screen, filmmakers have more freedom to pick and choose the stories they want to tell. This freedom allows filmmakers to explore narratives that might otherwise go unheard, which include stories that feature (...) marginal figures, such as serial killers, as sympathetic protagonists, which is what director Patty Jenkins achieves in her 2003 film Monster. Charlize Theron’s transformation into and performance as Aileen Wuornos, and Jenkins’s presentation of the subject matter, make this film an example of rogue cinema. In addition, Aileen Wuornos is portrayed as a clear example of the rogue character. This character trope frequently defies social standards, suffers from past trauma, is psychologically complex, and is often exiled. As a prostitute and social outcast, Aileen Wuornos exists on the fringes of society and rejects the hegemonic power structure and later heteronormativity of society, which makes her a rogue figure. While there are several aspects to consider when analyzing Jenkins’s film, my intention is to argue that this film is an example of rogue cinema because of its content. In order to accomplish this task, I examine Theron’s bodily transformation and her performance as Wuornos. Furthermore, I look at how Jenkins handles the depiction of romantic love and gendered violence and argue that her treatment of this content renders this film rogue. (shrink)

Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the archives and dig up never seen or forgotten materials. They reassemble (...) stories, thoughts, and affects, bending our memories and historical consciousness. Following Deleuze and Guattari's geophilosophical ideas in A Thousand Plateaus filmmakers can be considered metallurgists. Discussing the work of Tariq Teguia, John Akomfrah and others, this article investigates several metallurgic strategies that have a performative effect in reshaping our collective memory and co-constructing the possibility of ‘a people to come.’. (shrink)

Textbooks and manuals on management suggest that managers are heroes who deal with difficult problems of collective adaptation and change. American films are similarly built on the premise of a hero confronted with extremely difficult situations. What if this hero figure promoted for so long in both management literature and the American film industry was the same at the structural level? This paper will attempt to clearly define the ethical performance of heroes that is perhaps shared by the imagination industry (...) and the workplace on the long run. We shall follow this picture of a hero-leader in the ethics of business and cinema through a large corpus of movies and writings on management and provide a set of six features for examining both, a common heroic structure we shall call the Hero-Leader Matrix. (shrink)

This article traces the historical becoming of the contemporary supersaturation of images of queer and transgendered Iran through the narrative and tropic devices introduced by filmmakers in the past twenty years. I argue that the censorship code enforced by the Ministry of Culture and Islamic Guidance is partly responsible for the formation of what has come to be a ubiquitous figure in the New Iranian cinema: the "cross-dressing" or "passing" figure. By performing close readings of "Baran" and "Dokhtaraneh Khorshid"—two (...) films that are exemplary of a subgenre organized around the "cross-dressing" or "passing" figure—I identify a "transgender move": a temporary space of political and agential potential that many spectators—both domestic and diasporic—seek in the post 1990s New Iranian cinema. (shrink)

This article traces the historical becoming of the contemporary supersaturation of images of queer and transgendered Iran through the narrative and tropic devices introduced by filmmakers in the past twenty years. I argue that the censorship code enforced by the Ministry of Culture and Islamic Guidance is partly responsible for the formation of what has come to be a ubiquitous figure in the New Iranian cinema: the “cross-dressing” or “passing” figure. By performing close readings of Baran and Dokhtaraneh Khorshid—two (...) films that are exemplary of a subgenre organized around the “cross-dressing” or “passing” figure—I identify a “transgender move”: a temporary space of political and agential potential that many spectators—both domestic and diasporic—seek in the post 1990s New Iranian cinema. (shrink)

Part of Slavoj iek's philosophical background is located in German idealism. In this article, his relation to German idealism is critically assessed, and the key to this assessment is found in iek's favorite medium: film. In film, reality can only appear as a new image, replacing an old reality as fictitious, the real itself, however, remains unreachable by thought. At this point, a parallel with German idealism appears: it was Kant who turned reality into a desert, and Hegel and Schelling (...) who tried to retrieve it. Siding with Adorno and Heidegger, iek reaches a negative conclusion that does justice to neither German idealism nor indeed Schelling. His use of German idealism is one-sided and selective, regardless of the fact that it allows him to formulate an adequate critique of Western society. Perceiving a parallel between iek's conception of cinema and Kantian imagination [Einbildungskraft], the final conclusion is that he approaches German idealism not in terms of its conceptual system-character, but in terms of sensual multiplicity, not seeking unity in it, but precisely fragmentation. (shrink)

Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about the human (...) self and our interaction with the world. Apart from these well-known science fiction epics, her analysis also draws on recent works, such as Inception, The Thirteenth Floor, eXistenZ, Aeon Flux, Total Recall (2012), Transcendence and TRON: Legacy. These films stimulate an engaging discussion on what makes us human, the role memory plays in understanding ourselves, and how virtual realities challenge the moral concepts that govern human relationships. (shrink)

Alyssa DeBlasio’s book The Filmmaker's philosopher - Merab Mamardashvili and Russian cinema presents Merab Mamardashvili’s philosophy seen through the eyes of film directors who were directly or indirectly influenced by his lectures. With a detailed analysis of eight films, the book brings together a generation of filmmakers who translated Mamardashvili’s message into cinematic language, performing an experiment through which we might see an alternative mode of thought at work. By showing how Mamardashvili’s considerations of metaphysical, epistemological and moral nature (...) shine through in the films described, DeBlasio touches upon one of the pillars of Mamardashvili’s thought: art is, together with philosophy, a privileged language for recording each own’s experience of the field of consciousness. (shrink)

This paper presents a reflection on subjectivity in the context of consumer society, discussing two alternative approaches: on the one hand, the iden- tification between subject and commodity, traceable, among others, to Bauman, and, on the other hand, Žižek’s interpretation of subjectivity as an emerging surplus of the conflict within the symbolic order. The result- ing exchange between these alternatives shows the constitutive relations of the subject of consumption in the dimension of desire, in the margin of freedom, and in (...) the role of reflexivity. Finally, the understanding of the relationship between the subject and the material world is proposed as a constructive performativity of subjectivity. (shrink)