: 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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Bringing Bodies Back In: Hence, our need for “texual assistance,” for images that “confer. It is this letting go that makes it possible for her to be re- deemed.

Kaja Silverman, The Threshold of the Visible World – PhilPapers

This book is not yet featured on Listopia. Where Silverman is interested in the ways that an image provokes the spectator to certain kinds of identificatory movement, hooks tends to stress the protagonists’ psychic trajectories, as represent- ed within the filmic narrative, or-in a series of interviews with in- dependent filmmakers that comprise most of the book’s second half-the artist’s trajectories as reflected in those of her protago- nists.

Darlene Pike rated it really liked it Wworld 01, Mary Ann Doane, Femmes Fatales: The Threshold of the Visible World advances a revolutionary new political aesthetic–Kaja Silverman explores the possibilities for looking beyond the restrictive mandates of the self, and the normative aspects of the cultural image-repertoire.

It is tempting to say that Marxist-oriented film studies are concerned primarily with the functioning of the cinematic ap- paratus and psychoanalytic film studies with its textual effects, al- though it should be clear that the distinction is only relative; at their best, both approaches attend to the interrelation of the filmic text and the apparatus which supports it.

Hence, our need for “texual assistance,” for images that “confer ideality upon the face and lineaments of another” but also that silvermah “the psychic wherewithal to participate in the desires, strug- gles, and sufferings of the other, and to do so in a way which re- dounds to his or her, rather than our own, ‘credit’ ” pp. But for hooks, it is precisely by presenting an assimilable image, by rendering the identification closer, that al- ternative film transforms worls nature of cinema’s hail.

The Threshold of the Visible World – Kaja Silverman – Google Books

Silverman’s deploy- ment of the concept thus significantly, if tacitly, departs from Benjamin’s. Routledge,esp. Greta V rated it really liked it Feb 15, Yet as hooks herself has so cogently argued in Black Looks, the colo- nizer’s quest for a restorative encounter with the desublimated world of the other is not an inversion of the colonial paradigm but its most fundamental cultural articulation.


Pylyshyn – – In Joao Branquinho ed. Remarking that numerous postcolonial intellectuals have ac- knowledged the film’s impact on their early formation, the au- thors cite filmmaker Haile Gerima’s account of seeing Tarzan as a boy in Ethiopia and affectively assuming, with the rest of the in- digeneous audience, the European’s point of view interestingly, the identification is apparently cross-gendered, because, regard- less of sex, audience members as one shout warnings to Tarzan whenever he is stalked by Africans.

Nasha rated it really liked it Mar 26, Rather, the valuation of the “experimental” and the “transgressive” in The Threshold of the Visible World and Reel to Real proves rich and provocative for what it may reveal about the abiding romanticism of feminism’s collective engagement with the forms of contemporary visual culture. Google Books no proxy Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy.

Fur- thermore, the assumptions that structure The Threshold of the Visi- ble World and Reel to Real bracket any investigation of the institu- tional contexts of spectatorship.

Return to Book Page. There is at least one notable exception, however, in the essay on Exotica, when hooks considers the privileged traveler, Francis: Science Logic and Mathematics. 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 visile existence.

The Threshold of the Visible World and Kaa to Real suggest an impulse to retrenchment at work with- in feminist film studies as some of its most important practitioners come to focus all too narrowly on the imaginary configurations internal to specific visual texts.

Caterina Fake rated it it was amazing Sep 27, Tracking the Missing Link. The Immediacy of Moral Vision. Materially tne 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 provides a detailed account of the sllverman and psychic forces which constrain us to look and identify in normative ways, ghreshold the violence which that normativity implies. But if “independent” production offers only a more or less illusory autonomy, what are the condi- tions of possibility for “experimental” art?

The Threshold of the Visible World

May have page creases, creased spine, bent cover or markings inside. Packed with care, shipped promptly.


To change the repertoire of available cultural images, they suggest, is to transform the social at the level of the psycl-uc. Yet in Gerima’s account, as in Frantz Fanon’s, wordl 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 ivsible jects of Tarzan’s aggressions.

For a variety of histori- cal reasons which it is beyond the scope of this essay to consider, feminist film theory remains centrally identified with the psycho- analytic emphasis in film studies. Books by Kaja Silverman.

Minor crease near spine. Shannon Winnubst – – Philosophy and Social Criticism 30 1: Cary Nelson and Lawrence Grossberg Urbana: 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 to the other’s world.

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.

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. Denise rated it really liked it Aug 31, Rather, my thw is that such oppositional visual culture, where it occurs, does not ensue from any supposed relation of exteriority to the circuits of capitalist production, distribution, and consumption.

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In The Threshold of the Visible World Kaja Silverman advances a revolutionary new political aesthetic, exploring the possibilities for looking beyond the restrictive mandates of the visibble, and the normative aspects of the cultural image-repertoire. Surprisingly, however, hooks’s habit- ually critical perspective on the recuperative logic of transgres- sion silverjan gives way to an affirmative tone.

The Threshold of the Visible World. The films distributed through these circuits would nec- essarily be marked by their passage, aligned in more or less ex- plicit ways with the racial and class politics of European and American capital in the colonies.