: 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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Accounting for these phenomena on both a conscious and an unconcious level, Silverman analyzes the psychic and textual conditions under which our “field of vision” can be expanded. 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. And yet, as we move from the culture of images to the “domain of intersubjective relations,” isn’t it precisely the assur- ance of the other’s “familiarity” that we lose and the prerogative of knowing her desires and her sufferings that we forfeit?
In this way, the conception of the image as relay surreptitiously resuscitates a sovereign subject, one who ex- ists somehow apart from the social and symbolic systems that en- gendered her and that remain more fully determining for the lives of ordinary women and men. Ella Shohat and Robert Stam’s work on global film culture em- phasizes both the dominance of Hollywood in the world market and the multiple lines of resistance to its cultural hegemony.
The Threshold of the Visible World
Attention to or and con- sumption reduces to the merely gestural to the invocation of an apparently homogeneous mainstream and the domain of authen- tic alterity that lies beyondand film study becomes a kind of analysis-through-immersion in the specular trajectories, not so much of a viewing subject, as of a largely decontextualized view- er-effect.
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Visiboe, however, hooks’s habit- ually critical perspective on the recuperative logic of transgres- sion here gives way to an affirmative tone. Ths conception of the image as relay implicitly tje the psyche as the mirror of the social; far more problematically, it also reduces the social to a mirror of the psyche.
To change the repertoire of available cultural images, they suggest, is to transform the social at the level of the psycl-uc.
The threshold of the visible world – Kaja Silverman – Google Books
What do we mean when we say “outside the mainstream”? Science Logic and Mathematics. Pylyshyn – – In Joao Branquinho ed. 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.
Asserting that “those of us writing deconstructively about gender, race, class, and other forms of ‘difference’ have made a serious strategic mistake” for having “argued against idealization, that psychic ac- tivity at the heart of love,” Silverman here mounts a claim for the contestatory power of idealizations that depart from and under- mine the established luerarchy of social value. Leaving aside the more obvious objections to this reading of the film-given Sera’s subsequent rape, it seems odd to assert that women’s sexual self-determination has been secured “in modem societyn-I would stress what hooks’s paradigm makes so lumi- nously, if uncritically, clear: Chloe rated it really liked it Jun 26, Routledge, Cathy rated it liked it Aug 01, Nico rated it really liked it May 16, 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.
The call to revitalize a cinematic avant-garde implies at least two thgs: The Threshold of the Visible World also provides a psychoanalytic examination of the field of vision. What prevails in Pulp Fiction and Kids, hooks contends, is a “cool cynicism” that reflects the interests and sensibilities of a cultural elite, whle Hoop Dreams’ os- tensibly gritty look at the exploitation of African American ath- letes surreptitiously reinscribes a tired bourgeois ethos of success- through-individual-eff ort.
Fine Paperback, 8vo, pp with index. By enabling us to see differently, Silverman contends, the ex- perimental image reeducates the look, which “[allone can make a difference within the ethcal domain of intersubjective relations” p. Sign in to use this feature. Yet at the same time, the functioning of the social apparatus is subordinated to the vision of the canny subjectlartist.
Nasha rated it really liked it Mar 26, 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.
Yet the assumption remains that the protagonist models va- rious forms of psychic passage for the spectator, who is especially induced to follow when the impetus toward transformation, the sense of loss or lack whch sets the protagonist in motion, answers to something within the spectator’s own affective experience.
Andrew rated it it was amazing Mar 19, In other words, there is nothing inherently reac- tionary in the study of metropolitan art house cinema-unless we pretend that its privileged imaginary subsists outside the com- modity form. What is the relation of the racial imapary to the organization of the disseminating media?
Her investment lies in radically historicist ap- proaches to the human from the wold of hstorically dehu- manized subjects and in the creation of critical countertexts to the narrative sanctions of the dominant culture. 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 Feminist Studies 26, no.
What forms of critical intervention does tkus organization enable? Silverman, in contrast, studiously avoids such language, but her endorsement of a visionary cinema freed from the reproductive imperatives of mainstream mass media displays thresshold equally avant-gardist sensi- bility, notwithstanding her elision of the term.
United States United Siverman Canada. I would add now that this poten- tially debilitating overemphasis on the workings of the specular imagination seems increasingly endemic to the critical discourse on race, where race relations and the complexities of racial em- bodiment often reduce to a recycled meditation on the “self” and its determining, specular “others.
Writing, for example, on the prostitute Sera in Leaving Las Vegas, hooks seems to em- brace what she reads as the terms of a reconstituted feminine identity. Very Good Near Fine with a corner crease. Hooks’s choice of a psychologizing rhetoric makes visible the degree to whch the stakes in travel and transgression, in crossing over and losing oneself on the danger- ous ground of an other, are precisely territorial: Silverman’s deploy- ment of the concept thus significantly, if tacitly, departs from Benjamin’s.
The Threshold of the Visible World – Kaja Silverman – Google Books
Shohat and Stam’s schol- arship models one sort of critical intervention responsive to the questionsI have posed. Vanessa Thill rated it it was amazing Aug 10, May have page creases, creased spine, bent cover or markings inside. Highlighting assumptions which often inform critical prose in more muted, if no less determining ways, The Threshold of the Visi- viwible 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.
These psychic and social constraints lead us to commit involuntary acts of visual violence against others.
Paperbackpages. Thus, both hooks and Silverman seem to sllverman a viewer who identifies only in relation to the social cate- gories of gendered, racial, class, or sexual identity set forth by the image.
DeShazer – – Journal of Bioethical Inquiry 11 4: 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.
Jennie rated it it was amazing Jan 07, GOING HOME If there is a keynote which sounds throughout the rich and varied corpus of visivle hooks’s writing, it is, perhaps, that the possibility of going elsewhere-of crossing over-is never equally available to those on different sides of the border and that it always has a price, for those with the social and cultural license to cross, as well as for those without.