By Tijana Mamula
Cinema and Language Loss offers the 1st sustained exploration of the connection among linguistic displacement and visuality within the filmic realm, analyzing intensive either its formal expressions and theoretical implications.
Combining insights from psychoanalysis, philosophy and movie thought, the writer argues that the movement from one linguistic surroundings to a different profoundly destabilizes the subject’s relation to either language and truth, leading to the hunt for an alternative to language in imaginative and prescient itself – a reversal, because it have been, of talking into seeing. The dynamics of this shift are fairly obtrusive within the works of many displaced filmmakers, which frequently occur a conflicted interplay among language and imaginative and prescient, and during this query the signifying strength, and the perceptual ambiguities, of cinema itself.
In tracing the come across among cinema and language loss throughout a variety of movies – from Billy Wilder’s Sunset Boulevard to Chantal Akerman’s News from domestic to Michael Haneke’s Caché – Mamula reevaluates the position of displacement in postwar Western movie and makes an unique contribution to movie concept and philosophy in response to a reconsideration of where of language in our event and knowing of cinema.
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Extra info for Cinema and Language Loss: Displacement, Visuality and the Filmic Image (Routledge Advances in Film Studies, Volume 21)
48 Metz’s answers, however, differ from those offered here in a way that is both necessary and already contained within the question. Simply put, his enquiry is posited in terms of the symbolic signifier, and his response is Lacanian. The present discussion suggests instead that signifier be rephrased sign, in a move away from the post-Saussurean linguistics promoted by Lacanian film theory, and in reference to Kristeva’s definition of Freud’s object-presentation as the condensation of thing-presentation and word-presentation into a heterogeneous and open signifying unit.
Introduction 15 book. Referencing the Unheimliche as a psychic phenomenon and using the discursive strategies typically associated with the uncanny mode— including the literalization of figurative discourse into images and events, and the confusion of points of view—films such as Polanski’s The Tenant and Haneke’s Caché blur the distinction between reality and fantasy, or reality and cinema, as well as relating this to the cinema’s capacity to collapse symbolic boundaries. Rooted in a similar discourse but moving in the opposite direction, other films, such as Kies´lowski’s Trois couleurs: Bleu (Blue, 1993) and Marker’s Sans Soleil, foreground the perceptual ambiguities of the uncanny—and of the cinema—so as to both comment on and counteract them through a marked and purposeful use of abstraction.
The reification of the sign further recalls the hallucinatory element attributed by Metz to the imaginary signifier: that is its danger, and the danger that an appeal to the semiotic potentiality of vision will result not only in the continued denial of the symbolic, but also in a loss of faith in or denigration of vision itself. indd 34 10/18/2012 5:00:46 PM Images Begin to Sound 35 the same time, this very element of reification, to the extent that it succeeds in signifying a “thing” in or through itself, approaches the revindication of materiality that defines semiotic signification.
Cinema and Language Loss: Displacement, Visuality and the Filmic Image (Routledge Advances in Film Studies, Volume 21) by Tijana Mamula