: 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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Yet in Gerima’s account, as in Frantz Fanon’s, this moment of captivation by the colonizer- gone-native, supported by the collective nature of the identifica- tion, is also fundamentally untenable in the face of colonial soci- ety and the institutionalized racism that exacts the colonized sub- ject’s identification with the primitive-with the dark-skinned ob- jects of Tarzan’s aggressions.
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The Threshold of the Visible World
The Threshold of the Visible World advances a revolutionary new political aesthetic–Kaja Silverman explores the possibilities for thresholdd beyond the restrictive mandates of the self, and the normative aspects of the cultural image-repertoire.
The visual image thus mediates be- tween the subject and the world or, in Silverman’s terms, stands as the “threshold” through which the world passes into the sub- ject and the subject projects herself into the world.
New Buy with confidence. 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. Eschewing, moreover, the discourse of psychoanalytic theory in which Silverman proves centrally invested, hooks opts instead for the discourse of popular psychology, which posits as the goal of ther- apy the very tlung that psychoanalytic theory, particularly in its Lacanian inflection, most fervently rejects: Race, Sex, and Class at the Movies.
The Threshold of the Visible World, in asserting our “need for more texts of the sort fea- tured in tl-us book” p.
At the same time, however, in reviews of films such as Leaving Las Vegas and Exotica, hooks moves into the more celebratory as- sessment of transgressive desire and imaginary crossings. Paperback The item is fairly worn but still readable. Sign in to use this feature. Surprisingly, however, hooks’s habit- ually critical perspective on the recuperative logic of transgres- sion here gives way to an affirmative tone.
Goodreads helps you keep track of books you want to read. Silverman’s deploy- ment of the concept thus significantly, if tacitly, departs from Benjamin’s. Thanks for telling us about the problem. The call to revitalize a cinematic avant-garde implies at least two thgs: But if “independent” production offers only a more or less illusory autonomy, what are the condi- tions of possibility for “experimental” art?
Those whose worlds they enter, survey, enjoy, conscript, possess, exhaust, and transform remain ancillary to the plot. Request removal from index. Near Fine Clean unopened copy. 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. Race, Sex, and Class at the Movies, share space on Routledge’s copious list of recent cultural studieslfilm publications, there is, then, little reason to anticipate.
Avant-garde art thus proves to be nothng more than the practice of the avant-garde artist. 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 authority to sigrufy the mean- ing and the value of her own existence.
Crucially, however, such identifications, if they are to be genuinely contesta- tory in their implications and effects, “must conform to an exter- nalizing rather than an internalizing logic”; we must “identify ex- corporatively rather than incorporatively and thereby respect the otherness of the newly illuminated bodies” p.
In recent years, especially, hooks has en- gaged in the sustained and compelling critique of a corporate multiculturalism, which sells the consumer public on the fantasy of free passage. For, in one sense, 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 it proffers.
Nevertheless, hooks speaks in positive terms of Sera’s movement into self-obliterating love.
The Threshold of the Visible World – Kaja Silverman – Google Books
She provides a detailed account of the social and psychic forces which constrain us to look and identify in normative ways, and the violence which that normativity implies. Essays on Philosophy and Race. While offering extended discussions of the gaze, the look, and the image, Silverman is concerned above all else with establishing what it means to see.
Paperbackpages. Kristen rated it it was amazing May 25, Materially and semantically wed to a mode of production, visual media are also never completely aligned with the interests that operate them, and it is arguably central to the mission of feminist film studies to theorize both the conditions under which the message departs from the logic of the medium, and the often contradictory effects such departures engender.
She shows that our look is always impinged upon by our desires and our anxieties, and mediated in complex ways by the representations which surround us.
Explicitly developed in Silverman’s text and everywhere im- plicit in hooks’s is an assumption that the visual image belongs to the specular imagination-that it constitutes a reflection of the viewing subject in and through which she apprehends both the contours of her own social being and of the broader social field in whch her identity is vested.
Addie Tsai rated it it was amazing May 23, Cate Rivers rated it it was amazing Feb 11, Tthreshold assumptions which often inform critical prose in more muted, if no less determining ways, The Threshold of the Visi- ble World and Reel to Real also disclose the limits of tlus specular model, which tends to position the subject and the world as equivalent and reversible poles.
South End Press,esp.
What forms of critical intervention does tkus organization enable? By idealizing and identifying with the “culturally disprized,” in other words, we refuse the normative identifications, which society seeks to im- pose, and we restore to value those who have been subordinated, debased, and abjected within the existing social threshoold.
This is obviously not to suggest that cinema is inherently inca- pable of performing counterhegemonic cultural work. It is this redemptive transforma- tion Francis seeks when civilization and the family as he has constructed them break down” pp. Is the Mirror Racist?: Rob Threshild and Wimal Dissanayake Durham: