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KAJA SILVERMAN THE THRESHOLD OF THE VISIBLE WORLD PDF

: 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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For Silverman, to advocate an anti-identificatory cinema repre- sents a naive attempt to bypass the operations of the unconscious and so to engage in a discredited project of ideological demystifi- cation p. One might suppose that Kaja Threshole latest highly theoretical venture into the psychoanalytics of film shares with bell hooks’s resolutely plain-talking and methodologically eclectic book of film commentaries at most a thematic concern with the cultural work of the visual image.

Kaja Silverman, The Threshold of the Visible World – PhilPapers

Silverman borrows the idea of the “ceremonial image” from Walter Benjamin, who uses it to describe a mode of resignifying objects, rather than subjects. By enabling us to see differently, Silverman contends, the ex- perimental image reeducates the look, which “[allone pf make a difference within the ethcal thee of intersubjective relations”. Routledge, Multiculturalism and the Media New York and London: Imogene Newland rated it really liked it Aug 03, In the place of an identificatory look that asserts the privilege of relation indeed of intimate relation to the other, Spi- vak enjoins the “systematic unlearning” of our privilege, which begins with avowing its historical consequences, rather than en- deavoring, once again, to find passage silferman the other’s world.

The notion of the image as relay encourages analysis of the viewers’ subjection to the identificato- ry possibilities of the image but elides the extent to whch these identificatory possibilities are governed by circumstances silvermzn neous to the image itself. But if “independent” production offers only a more or less illusory autonomy, what are the condi- tions of possibility for “experimental” art?

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As Gayatri Chakravorty Spivak has argued, the postcolonial intellectual learns that her privilege is her loss. New Buy with confidence.

In Threshlod Threshold of the Visible World Kaja Silverman advances a revolutionary new political aesthetic, exploring the possibilities for looking beyond the restrictive mandates of the self, and the normative aspects of the cultural image-repertoire. Connecting Vision with the World: Jess rated it really liked it Apr 03, Minor crease near spine. Thus we find ourselves re- turned, via a circuitous path, to the romantic ideal of expressive art: Rather, “identity-at-a-distance” points to an “ethical” or “produc- tive” form of looking, in which one affirms the “otherness of the desired self” and thereby, ultimately, the “familiarity of the de- spised other” p.

What do we mean when we say “outside the mainstream”? Hence, we find the suggestion in Reel to Real, as in The Threshold of the Visible World, that the alternative silveran, departing as it does from Hollywood formula and cinematic convention, alters the terms of spectatorship. This is obviously not to suggest tne cinema is inherently inca- pable of performing counterhegemonic cultural work.

The Threshold of the Visible World

As a result, feminist intervention in visual culture risks being reduced in hooks’s and Silverman’s books-but surely not in their work alone-to a discussion visihle particular filmic texts, evalu- ated with respect to the merits or demerits of their maker’s vi- sion and its implications for the radical pedagogy of viewers in matters of gender, race, and sexuality.

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May have page creases, creased spine, bent cover or markings inside. The Threshold of the Visible World, in asserting our “need for more texts workd the sort fea- tured in tl-us book” p. Silverman’s deploy- ment of the concept thus significantly, if tacitly, departs from Benjamin’s. Whatever theoretical coherence and oppositional po- tential the concept of an avant-garde may once have possessed, its hstorical frame of reference has been eroded by the circum- stances of late-twentieth-century cultural production; as Laura Kipnis puts it, ‘being ahead ghe one’s time.

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. Several essays in Reel to Real pursue ths critique with hooks’s usual, unerring eye for the banality of the self-consciously hp.

Susan Cook rated it really liked it Dec 20, Signs of wear include aesthetic issues such islverman scratches, worn covers, damaged binding.

Her overactive sexuality serves to mask her desire to be loved.

The investment in imaginative “letting go” leads wordl precisely to the most familiar, the most disciplinary of patriarchal topoi: Kate Ince – – Film-Philosophy 15 1: Jeff Malpas – manuscript. Jacob Rogozinski – – Stanford University Press.

At the hea Love. And, crucially, for hooks and Silverman alike, the creation of such images depends on the preservation and cultivation of an aesthetic avant-garde.