Godard Between Identity and Difference

This book reads a series of Godard films as interventions in contemporary debate about the language of difference.

Godard Between Identity and Difference

This book reads a series of Godard films as interventions in contemporary debate about the language of difference. Godard has something he wants both to preserve (singularity) and destroy (visual and aural totalitarianism). How is it possible to speak about the Other? How is it possible for the Other to speak? Does all speaking about or by the Other render that speaking common, thereby rendering what is different identical? These questions gather together a number of issues that cross and intersect disciplinary boundaries: signification, representation, ethics, politics, and so on. The problematics with which Drabinski is concerned begin in the debate between Levinas and Derrida, then later in dialogue with Blanchot and Irigaray. To this extent, Godard is particularly well-suited as an interlocutor. Godard's work, especially in the 1970s, is itself a self-conscious form of philosophy. His films theorize themselves, produce a reflexive sound-image language, and so in many ways match the very essence of philosophy: thought thinking thought. Still, the medium of sound and image complicates any rendering of Godard's work as philosophy. Godard produces a philosophically significant cinematic language, rather than simply narrating or representing philosophical ideas in the medium of film. And this language must be taken seriously in the context of the problem of difference. For, if difference is concerned with signification as such, then the visual and aural retain equal rights with writing (and all questions obtaining therein). Indeed, if part of the problem of speaking about or by the Other is how such speaking traffics in inscription, then cinematic language is certainly an important - and authentically complex - intervention in that problem. The nature of the debate in this project - how the language of alterity is possible or impossible - immediately breaks disciplinary borders between philosophy, literary theory, film studies, and cultural studies. What it means to engage with film in this context, however, is complicated. To wit, there are two standard treatments of film in philosophy. Film is typically either an example of a philosophical position or philosophy is used to interpret motifs, characters, plot lines, etc. In neither case is film engaged as a form of philosophizing itself, that is, as a language engaged with philosophical problematics. It is articulating exactly this engagement that this book takes as its primary task. The aim of the project is to read Godard's work as primary texts, with all the attention due the idiosyncratic language of those texts. Framed by the debate about difference and signification, these primary texts register and resonate as transformative interventions. The overarching argument of the book is that Godard's conception and practice of cinematic language opens new, important possibilities for thinking about radical alterity.

The Legacies of Jean Luc Godard

Godard between Identity and Difference (New York: Continuum, 2008), 140. Michael Sofair, “In Praise of Love (Éloge de l'amour),” Film Quarterly 58, no. 2 (2005), 41. See also Morrey, Jean-Luc Godard, 232. See Kilbourn, Cinema, Memory, ...

The Legacies of Jean Luc Godard

The artistic impact of Jean-Luc Godard, whose career in cinema has spanned over fifty years and yielded a hundred or more discrete works in different media cannot be overestimated, not only on French and other world cinemas, but on fields as diverse as television, video art, gallery installation, philosophy, music, literature, and dance. The Legacies of Jean-Luc Godard marks an initial attempt to map the range and diversity of Godard’s impact across these different fields. It contains reassessments of key films like Vivre sa vie and Passion as well as considerations of Godard’s influence over directors like Christophe Honoré. Contributors look at Godard’s relation to philosophy and influence over film philosophy through reference to Wittgenstein, Deleuze, and Cavell, and show how Godard’s work in cinema interacts with other arts, such as painting, music, and dance. They suggest that Godard’s late work makes important contributions to debates in memory and Holocaust Studies. The volume will appeal to a non-specialist audience with its discussions of canonical films and treatment of themes popular within film studies programs such as cinema and ethics. But it will also attract academic specialists on Godard with its chapters on recent works, including Dans le noir du temps (2002) and Voyage(s) en utopie (2006), interventions in long-running academic debates (Godard, the Holocaust, and anti- Semitism), and treatment of rarely discussed areas of Godard’s work (choreographed movement).

Encounters with Godard

(2010), Jean-Luc Godard: Dictionnaire des passions (Paris: Stock). Drabinski, J. E. (2008), Godard between Identity and Difference (New York: Continuum). Dubois, P. (2004), “The Written Screen: JLG and Writing as the Accursed Share,” in ...

Encounters with Godard

A wide-ranging and accessible approach to Godard’s later work, and a major intervention in the study of film aesthetics and ethics.

Encounters with Godard takes the reader on a personal voyage into the sensory pleasures and polyphonic rhythms of Jean-Luc Godard’s multimedia work since the late 1970s, from his feature films and video essays to his published writings, art books, and media performances. Godard, suggests James S. Williams, lays ethical claim to the cinematic, defined in the broadest terms as relationality and artistic resistance. An introductory chapter on the extended history of La Chinoise (1967), a film explicitly of montage, is followed by seven different types of critical encounters with Godard, encompassing the fields of art and photography, music and literature, and foregrounding themes of gender and sexuality, race and violence, mystery and emotion. The Godard who emerges here is a restless and radical experimenter who establishes new cinematic thresholds through new technology and expands the creative potential and free exchange of the archives. Williams examines works including Nouvelle vague (1990), Film socialisme (2010), Hélas pour moi (1993), and the magnum opus Histoire(s) du cinéma (1988–98). Wide-ranging and accessible, Encounters with Godard marks a major intervention in the study of film aesthetics and ethics while forging a vital dialogue with literature, history and politics, art and art history, music and musicology, philosophy, and aesthetics.

“A landmark contribution to our understanding of Godard and of modernist expression as a whole.” — David Sterritt, author of The Films of Jean-Luc Godard: Seeing the Invisible

“Writing with a delirious lucidity, Williams opens Godard to debate and dialogue that informs, extends, opens, and illuminates what may be the greatest and most complex body of cinema of the last half-century.” — Tom Conley, author of Film Hieroglyphs: Ruptures in Classical Cinema

Collectivity in Struggle

John E. Drabinski, Godard Between Identity and Difference (New York: Continuum, 2008), p. 49. 41. The accident metaphor is not accidental here, since Godard had indeed had an accident, which put an end both practically and symbolically, ...

Collectivity in Struggle

Collectivity of Struggle examines Jean-Luc Godard and Jean Genet's projects developed in the 1970s vis-à-vis the Palestinian revolt. The book explores how these artistic-political projects portray and conceptualize the Palestinian "age of revolution," its abrupt end, and two modes of prolonging it.

Ethics and the Arts

Godard between identity and difference. New York: Continuum. Girgus, Sam B. 2010. Levinas and the cinema of redemption: Time, ethics, and the feminine. New York: Columbia University Press. Kracauer, Siegfried. 1960.

Ethics and the Arts

This book proposes that the highest expression of ethics is an aesthetic. It suggests that the quintessential performance of any field of practice is an art that captures an ethic beyond any literal statement of values. This is to advocate for a shift in emphasis, away from current juridical approaches to ethics (ethical codes or regulation), toward ethics as an aesthetic practice—away from ethics as a minimal requirement, toward ethics as an aspiration. The book explores the relationship between art and ethics: a subject that has fascinated philosophers from ancient Greece to the present. It explores this relationship in all the arts: literature, the visual arts, film, the performing arts, and music. It also examines current issues raised by ‘hybrid’ artists who are working at the ambiguous intersections between art, bio art and bioethics and challenging ethical limits in working with living materials. In considering these issues the book investigates the potential for art and ethics to be mutually challenged and changed in this meeting. The book is aimed at artists and students of the arts, who may be interested in approaching ethics and the arts in a new way. It is also aimed at students and teachers of ethics and philosophy, as well as those working in bioethics and the health professions. It will have appeal to the ‘general educated reader’ as being current, of considerable interest, and offering a perspective on ethics that goes beyond a professional context to include questions about how one approaches ethics in one’s own life and practices.

Levinas and the Postcolonial

To think of postcolonial critique as a philosophy of difference and an ethical relation to the Other is inconceivable without taking into account the work of Emmanuel Levinas.

Levinas and the Postcolonial

Relates Levinas' central concept of the Other to postcolonial conceptions of Otherness. This title asks what we can learn from reading Levinas alongside postcolonial theories of difference. It undertakes readings of Gayatri Spivak, Homi Bhabha, and Subcommandante Marcos in order to rethink ideas of difference, language, ethics and politics

Continental Perspectives on Community

Human Coexistence from Unity to Plurality Chantal Bax, Gert-Jan van der Heiden ... He is the author of Sensibility and Singularity (2001), Godard Between Identity and Difference (2008), Levinas and the Postcolonial: Race, Nation, ...

Continental Perspectives on Community

This volume explores the issues at the center of many historical and contemporary reflections on community and sociality in Continental philosophy. The essays reflect on the thought of Nietzsche, Heidegger, Levinas, Arendt, Derrida, Badiou, Fanon, Baldwin, Nancy, Agamben and Laruelle. Continental Perspectives on Community brings the different approaches of these thinkers into conversation with each other. It discusses the possibility of how the concept of community can extend beyond the one and beyond any sense of unity and totality. Additionally, the book shows how notion of community in plurality is at the heart of ethical and political reflections on alterity and race, of political philosophical reflections on the exception, and of ontological reflections on what it means for humans to be social. In this way, it offers an important contribution to the examination of how a community can be thought today. This book will be of interest to scholars and advanced students working on social, political, and cultural issues in Continental philosophy.

Deleuze and Race

... 2001), Godard Between Identity and Difference (Continuum, 2008) and Levinas and the Postcolonial (Edinburgh University Press, 2011), as well as numerous articles on contemporary European philosophy and Africana theory.

Deleuze and Race

The first collection to theorise race and racism through the philosophy of Gilles DeleuzeIn this volume, an international and multidisciplinary team of scholars inaugurates the Deleuzian study of race through a wide-ranging and evocative array of case studies.Deleuze and Guattari provided new concepts of how humans are differentiated, through processes of state formation, capitalism, madness and desire. While sexual difference has received much attention in Deleuze studies, racial difference is a thornier problematic. As this collection of essays shows, Deleuze and Guattari had extremely original things to say about race, and the politics of phenotype and origin is never far from any engaged consideration of how the world works.

Nietzsche and Levinas

In addition to numerous journal articles on Levinas, phenomenology, and political philosophy, he has published Sensibility and Singularity (SUNY, 2001) and is the author of Godard Between Identity and Difference (Continuum, 2007).

Nietzsche and Levinas

The essays that Jill Stauffer and Bettina Bergo collect in this volume locate multiple affinities between the philosophies of Nietzsche and Levinas. Both philosophers question the nature of subjectivity and the meaning of responsibility after the "death of God." While Nietzsche poses the dilemmas of a self without a ground and of ethics at a time of cultural upheaval and demystification, Levinas wrestles with subjectivity and the sheer possibility of ethics after the Shoah. Both argue that goodness exists independently of calculative reason for Nietzsche, goodness arises in a creative act moving beyond reaction and ressentiment; Levinas argues that goodness occurs in a spontaneous response to another person. In a world at once without God and haunted by multiple divinities, Nietzsche and Levinas reject transcendental foundations for politics and work toward an alternative vision encompassing a positive sense of creation, a complex fraternity or friendship, and rival notions of responsibility. Stauffer and Bergo group arguments around the following debates, which are far from settled: What is the reevaluation of ethics (and life) that Nietzsche and Levinas propose, and what does this imply for politics and sociality? What is a human subject and what are substance, permanence, causality, and identity, whether social or ethical in the wake of the demise of God as the highest being and the foundation of what is stable in existence? Finally, how can a "God" still inhabit philosophy, and what sort of name is this in the thought of Nietzsche and Levinas?

Cultural Theory after 9 11

... and Theory: Essays on Literature and Criticism, 1953- 2005, forthcoming from Stanford University Press (May, 2008). ... the forthcoming Godard: Between Identity and Difference (Continuum, 2008), and numerous articles on contemporary ...

Cultural Theory after 9 11

This collection of material seeks to interpret the events of September 11, 2001 from the perspective of cultural theory — that is, from the perspective of anthropological and social forces that motivate human beings and give meaning to their thoughts, actions, and feelings. Though contributors to this volume work within various disciplines, their approach is necessarily holistic—because of the very nature of the event, which resonates on many levels and in diverse spheres of human activity. Clearly the perception of who one’s enemy is has a cultural and psychological impact that goes far beyond the superficial media representations consumed on a daily basis; the very curriculum of American universities has been altered as a result of the 9/11 attacks, and this will have profound and far-reaching effects.

The Caribbean Oral Tradition

He is the author of Sensibility and Singularity (SUNY, 2001), Godard Between Identity and Difference (Continuum 2008), and Levinas and the Postcolonial: Race, Nation, Other (Edinburgh, 2011), as well as of numerous articles on ...

The Caribbean Oral Tradition

The book uses an innovative prism of interorality that powerfully reevaluates Caribbean orality and innovatively casts light on its overlooked and fundamental epistemological contribution into the formation of Caribbean philosophy. It defines the innovative prism of interorality as the systematic transposition of previously composed storytales into new and distinct tales. The book offers a powerful consideration of the interconnections between Caribbean orality and Caribbean philosophy, especially as this pertains to aesthetics and ethics. This is a new area of thought, a new methodological approach and a new conceptual paradigm and proposition to scholars, students, writers, artists and intellectuals who conceive and examine intellectual and cultural productions in the Black Atlantic world and beyond.

The Routledge Encyclopedia of Film Theory

Godard between Identity and Difference. New York: Continuum. Mai, J. 2010. Jean-Pierre and Luc Dardenne. Urbana: University of Illinois Press. Stadler, J. 2008. Pulling Focus: Intersubjective Experience, Narrative Film, and Ethics.

The Routledge Encyclopedia of Film Theory

The Routledge Encyclopedia of Film Theory is an international reference work representing the essential ideas and concepts at the centre of film theory from the beginning of the twentieth century, to the beginning of the twenty-first. When first encountering film theory, students are often confronted with a dense, interlocking set of texts full of arcane terminology, inexact formulations, sliding definitions, and abstract generalities. The Routledge Encyclopedia of Film Theory challenges these first impressions by aiming to make film theory accessible and open to new readers. Edward Branigan and Warren Buckland have commissioned over 50 scholars from around the globe to address the difficult formulations and propositions in each theory by reducing these difficult formulations to straightforward propositions. The result is a highly accessible volume that clearly defines, and analyzes step by step, many of the fundamental concepts in film theory, ranging from familiar concepts such as ‘Apparatus’, ‘Gaze’, ‘Genre’, and ‘Identification’, to less well-known and understood, but equally important concepts, such as Alain Badiou’s ‘Inaesthetics’, Gilles Deleuze’s ‘Time-Image’, and Jean-Luc Nancy’s ‘Evidence’. The Routledge Encyclopedia of Film Theory is an ideal reference book for undergraduates of film studies, as well as graduate students new to the discipline.

The Global South and Literature

His books include Godard between Identity and Difference (2008) and Levinas and the Postcolonial (2011). fabio akcelrud durão is Professor of Literary Theory at the University of Campinas. Recent book publications include Modernism and ...

The Global South and Literature

The 'Global South' has largely supplanted the 'Third World' in discussions of development studies, postcolonial studies, world literature and comparative literature respectively. The concept registers a new set of relationships between nations of the once colonized world as their connections to nations of the North diminish in significance. Such relationships register particularly clearly in contemporary cultural theory and literary production. The Global South and Literature explores the historical, cultural and literary applications of the term for twenty-first-century flows of transnational cultural influence, tracing their manifestations across the Global Southern traditions of Africa, Asia and Latin America. This collection of interdisciplinary contributions examines the origins, development and applications of this emergent term, employed at the nexus of the critical social sciences and developments in literary humanities and cultural studies. This book will be a key resource for students, graduates and researchers working in the field of postcolonial studies and world literature.

Glissant and the Middle Passage

... 1915 Professor of Black Studies at Amherst College. He is the author of Sensibility and Singularity: The Problem of Phenomenology in Levinas, Godard between Identity and Difference, and Levinas and the Postcolonial: Race, Nation, Other.

Glissant and the Middle Passage

A reevaluation of Édouard Glissant that centers on the catastrophe of the Middle Passage and creates deep, original theories of trauma and Caribbeanness While philosophy has undertaken the work of accounting for Europe’s traumatic history, the field has not shown the same attention to the catastrophe known as the Middle Passage. It is a history that requires its own ideas that emerge organically from the societies that experienced the Middle Passage and its consequences firsthand. Glissant and the Middle Passage offers a new, important approach to this neglected calamity by examining the thought of Édouard Glissant, particularly his development of Caribbeanness as a critical concept rooted in the experience of the slave trade and its aftermath in colonialism. In dialogue with key theorists of catastrophe and trauma—including Aimé Césaire, Frantz Fanon, George Lamming, Gilles Deleuze, Félix Guattari, Derek Walcott, as well as key figures in Holocaust studies—Glissant and the Middle Passage hones a sharp sense of the specifically Caribbean varieties of loss, developing them into a transformative philosophical idea. Using the Plantation as a critical concept, John E. Drabinski creolizes notions of rhizome and nomad, examining what kinds of aesthetics grow from these roots and offering reconsiderations of what constitutes intellectual work and cultural production. Glissant and the Middle Passage establishes Glissant’s proper place as a key theorist of ruin, catastrophe, abyss, and memory. Identifying his insistence on memories and histories tied to place as the crucial geography at the heart of his work, this book imparts an innovative new response to the specific historical experiences of the Middle Passage.

Derrida and Africa

Edited by Grant Farred, this collection asks: What is Derrida to Africa?, What is Africa to Derrida?, and What is this specter called Africa that haunts Derrida?

Derrida and Africa

Derrida and Africa takes up Jacques Derrida as a figure of thought in relation to Africa, with a focus on Derrida’s writings specifically on Africa, which were influenced in part by his childhood in El Biar. From chapters that take up Derrida as Mother to contemplations on how to situate Derrida in relation to other African philosophers, from essays that connect deconstruction and diaspora to a chapter that engages the ways in which Derrida—especially in a text such as Monolingualism of the Other: or, the Prosthesis of Origin—is haunted by place to a chapter that locates Derrida firmly in postapartheid South Africa, Derrida in/and Africa is the insistent line of inquiry. Edited by Grant Farred, this collection asks: What is Derrida to Africa?, What is Africa to Derrida?, and What is this specter called Africa that haunts Derrida?

The novel english as paradigm of canadian literary identity

From frances booke to sara jeannette ducan Natalia Rodriguez Nieto. been supposed to be objective started to be regarded as ideologically constructed by different critical subjects, that is, as subjective. Following Barbara Godard's ...

The novel english as paradigm of canadian literary identity

La presente tesis se centra en el género novelístico en lengua inglesa como paradigma de la Identidad literaria canadiense con el fin de analizar su construcción restrictiva por medio de la Recuperación de contribuciones de mujeres y autores étnicos que han sido bien relegadas o bien infravaloradas como agentes literarios relevantes. Esta investigación abarca un periodo que comprende desde la publicación de la primera novela canadiense en inglés, The History of Emily Montague de Frances Brooke en 1769, hasta 1904 año en el que la obra de Sara Jeannette Duncan titulada The Imperialist vió la luz; es decir, desde los comienzos del género en inglés hasta la primera novela modernista. La primera parte engloba el marco teórico general del Nuevo Historicismo, el Feminismo y los Estudios Étnicos puesto que resaltan el papel crucial de la historización de la literatura en la creación de tradiciones e identidades literarias, e impulsan una visión crítica tanto de la producción literaria de mujeres y escritores étnicos como de su consideración. La segunda parte se centra en la historia, tradición e identidad literarias canadienses. Por medio de la novela, se analiza el proceso de antologización de la literatura canadiense en inglés a través de un estudio detallado sobre la presencia/ausencia de autoras y autores étnicos en antologías publicadas entre 1920 y 2004. También se incluyen las contribuciones de críticos/as feministas y/o étnicos puesto que cuestionan axiomas establecidos en la historia, tradición e identidad canadienses y posibilitan el acceso a las obras de estos escritores/as alternativos cuyos diversos sentidos identitarios, de otro modo silenciados, son revelados. Precisamente estos diferentes sentidos de la identidad son el eje de la tercera parte. Desde 1769 a 1904 existen: una primera novela frecuentemente infravalorada escrita Frances Brooke; novelas olvidadas de autoras con gran reconocimiento como Susanna (Strickland) Moodie; escritoras relevantes en la ficción juvenil como es el caso de Agnes Maule Machar, Margaret Murray Robertson y Margaret Marshall Saunders; contribuciones tempranas de autores étnicos como Martin Robinson Delany y Winnifred Eaton; así como novelistas de éxito de la talla Agnes Early Fleming, Lily Dougall, Susan Frances Harrison y Sara Jeannette Duncan. Dándoles voz y resaltando su relevancia, este trabajo demuestra que la literatura canadiense temprana está plagada de autoras y autores étnicos inteligentes, poderosos y reconocidos cuyas aportaciones deben ser re-consideradas si se pretende seguir manteniendo el carácter multicultural y no patriarcal de las letras canadienses. Estas novelas de un autor afroamericano y residente temporal en Canadá, de una mujer canadiense de ascendencia chino-inglesa, y un amplio espectro de mujeres inmigrantes o nativas pone de manifiesto no sólo que Canadá cuenta con un pasado literario sólido y forjado desde la diversidad sino que cuestiona el hecho de que esta herencia literaria todavía necesita ser recuperada.

Choice

D . West , University of Idaho 46-3146 PN1998 2008-18737 CIP Drabinski , John E. Godard between identity and difference . ... The films , he avers , are not about philosophy but rather Godard's attempt to enter into a philosophical ...

Choice


Passport to Hollywood

This definition of cinematic modernism subsumes elements of Godard's historical argument that modern cinema — or , as he elsewhere calls it , " anti - cinema " ( 30 ) —is one ... Close - up from No Sad Songs for 166 IDENTITY AND DIFFERENCE.

Passport to Hollywood

Examines popular films made in Hollywood by European directors, offering a fresh take on the much-debated issue of the "great divide" between modernism and mass culture.

Acting in the Cinema

“But that isn't important,” Godard whispers. Suddenly a jump cut takes us to another image of the same woman, framed exactly as before, the cityscape behind her seen from a slightly different angle. “This is Juliette Janson,” Godard ...

Acting in the Cinema

By analysing the work of seven classic film stars including Cary Grant and Marlene Dietrich, the author explores the techniques and theory of acting for the big screen.

Theorizing Glissant

This edited collection gathers together leading commentators on the work of Édouard Glissant in order to theorize the philosophical significance of his work.

Theorizing Glissant

This edited collection gathers together leading commentators on the work of Edouard Glissant in order to theorize the philosophical significance of his work."