By Steven Shaviro
In 'The Cinematic Body', Steven Shaviro proposes an intensive new method of movie viewing. relocating among Jerry Lewis and Andy Warhol, among Fassbinder's homosexual intercourse icons and George Romero's flesh-eating zombies, 'The Cinematic physique' cuts throughout disciplinary obstacles and seeks to have interaction new currents in serious proposal.
Shaviro noticeably reviews the Lacanian version at present renowned in movie conception and movie reports, arguing that model's obsessive emphasis at the phallus, castration anxiousness, sadistic mastery, ideology, and the constitution of the signifier. during this groundbreaking quantity, Shaviro successfully communicates a feeling of the inescapable ambivalences and intensities of up to date tradition, eventually asserting a completely postmodern sensibility
CONTENTS: movie idea and visible Fascination: Appendix - Deleuze and Guttari's idea of Sexuality * Contagious Allegories: George Romero * Comedies of Abjection: Jerry Lewis * our bodies of worry: David Cronenberg * Masculinity, Spectacle, and the physique of 'Querelle' * Warhol's our bodies * A observe on Bresson * Conclusions
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Additional resources for Cinematic Body (Theory Out Of Bounds)
In the realm of mechanical reproduction, the alternative between realism and illusionism is thus a false one. Benjamin, Vertov, and Bresson, whom I have already cited for their claims that cinematography is a materialist practice that produces a new form of direct contact with the real, are also among those who most stringently insist upon the constructed nature of the cinematic image. For Benjamin (1969), film penetrates into material and social reality not in spite of, but directly as a result of, its constructedness: The equipment-free aspect of reality here has become the height of artifice; the sight of immediate reality has become an orchid in the land of technology....
89)—precedes and ruins any split between being and representation, any opposition between phenomenal presence and linguistic signification. These images cannot be described in terms of Film Theory and Visual Fascination "lack," precisely because they do not take the place of any prior reality, and thus do not elicit the lost "presence" upon which all notions of lack or absence dialectically depend. They have always already subtracted themselves from the psychoanalytic narrative of traumatic separation, disavowal, phobic projection, and compensatory, fetishistic reconstruction.
In Godard's films—to take the example of a filmmaker usually thought to mark the ne plus ultra of cinematic discursivity—bits of language, whether spoken in voice-overs or visually presented in titles, always have a gratuitous, material, and 34,5 literal insistence, exceeding their discursive signification. Godard's method of insistent citation has the effect not of turning his films into "texts," but of affirming the "incorporeal materiality" of sounds as well as images. This insertion or inscription of language within film makes all the more impossible the reduction of cinematic structures to linguistic ones.
Cinematic Body (Theory Out Of Bounds) by Steven Shaviro