By Tijana Mamula

Cinema and Language Loss offers the 1st sustained exploration of the connection among linguistic displacement and visuality within the filmic realm, interpreting intensive either its formal expressions and theoretical implications.
Combining insights from psychoanalysis, philosophy and picture idea, the writer argues that the stream from one linguistic setting to a different profoundly destabilizes the subject’s relation to either language and fact, leading to the hunt for an alternative choice to language in imaginative and prescient itself – a reversal, because it have been, of conversing into seeing. The dynamics of this shift are fairly obtrusive within the works of many displaced filmmakers, which frequently take place a conflicted interplay among language and imaginative and prescient, and during this query the signifying capability, and the perceptual ambiguities, of cinema itself.
In tracing the come across among cinema and language loss throughout a variety of motion pictures – from Billy Wilder’s Sunset Boulevard to Chantal Akerman’s News from domestic to Michael Haneke’s Caché – Mamula reevaluates the position of displacement in postwar Western movie and makes an unique contribution to movie conception and philosophy in response to a reconsideration of where of language in our adventure and realizing of cinema.

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Additional resources for Cinema and Language Loss: Displacement, Visuality and the Filmic Image (Routledge Advances in Film Studies, Volume 21)

Sample text

The thing-presentation is first of all a trace, which might or might not enter consciousness by becoming cathected through linkage with a wordpresentation. As Jean Laplanche and Jean-Bertrand Pontalis explain, it does not represent “the connotation of the act of subjective presentation of an object to consciousness. ”16 Thing-presentations are preverbal and, in the topographical sense, part of the system Unconscious, rather than the Preconscious/ Conscious; conscious representation, on the other hand, is composed of the thing-presentation and the word-presentation.

This claim is elaborated in reference to the writings of Barthes, Bazin and Pasolini. ”56 Finally, as the late work of Kracauer most clearly indicates, the cinematic image prompts the reemergence of mnemic traces, giving memory back to those who have lost it because they have lost the language alongside which such traces are registered and through which they are recalled. The way it does so, however, entails a problematic erasure not only of the image’s ability to signify, but of its very claim to visibility.

60 This, in nuce, is the photographic index as a reified sign: the hyperbolic presence of the referent leading to something like the transformation of the sign into what it represents, into the thing itself. ”61 Although Barthes himself fleetingly indicates the element of reification contained in the photograph (in “The Rhetoric of the Image”),62 the present use of the term refers primarily to Kristeva’s employment of it in the context of her commentary on the Freudian uncanny (Unheimliche).

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