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 barriers and seeks to have interaction new currents in severe notion.
Shaviro considerably reviews the Lacanian version presently renowned in movie thought and picture reviews, arguing that model's obsessive emphasis at the phallus, castration nervousness, 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, finally declaring a completely postmodern sensibility
CONTENTS: movie thought and visible Fascination: Appendix - Deleuze and Guttari's conception 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 notice on Bresson * Conclusions
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Sounds and images are "reactivated," multiplied and intensified, precisely by being cut off from their source or origin. Mechanical reproduction marks the withering of the aura, the radical subversion of the hierarchy of original and copy upon which the theories of mediation and representation, or lack and substitution, depend. Film theorists usually posit a radical opposition between the direct presentation of sounds and images through recording and the manipulation of them through editing. 7 contemporary phenomenological theorists such as Dudley Andrew as it is for formalists from Eisenstein and Balazs on to semiotic and psychoanalytic critics writing in the wake of Metz.
The Hegelian argument against raw sensation is valid only to the extent that sensation is equated with cognition and attributed to a fixed subject. But now, perception can no longer be subsumed under reflective consciousness, or under cognition and judgment; instead, it marks a limit beyond which these can never extend. Sensation is disengaged from the transcendental conditions that are supposed to ground and organize it, as from the referential coordinates that allow us to locate and preserve it.
A wide variety of cinematic pleasures are predicated explicitly upon the decentered freeplay, the freedom from the constraints of subjectivity, that editing and special effects make possible. This is not the case only with a film such as Man with a Movie Camera, whose delirious explorations of nonsubjective perception are directly linked to a revolutionary political practice. One can cite, just as readily, the weird alienation effects that proliferate throughout Jerry Lewis's comedies (discussed in chapter III) or the implausible arrangements of bodies, impossible points of view, nonnaturalistic transformations of decor, and other forms of visual and narrative discontinuity that characterize the classic American musical.