A temporality of disruption challenges the exclusive representation of time and reality by the spatial structuring of public clock time. Antonioni and L'avventura: Transcendence, the Body, and the Feminine Notes Index. Does the book say helpful and interesting things about Emmanuel Levinas? In effect, Marcello resists the potential she offers of transcendence through a relationship with the other. Moreover, one wonders what about films that portray such a process would make them uniquely or distinguishably Levinasian. The most I can say is that in the course of reading what Girgus has to say about Levinas and the nine or so films he discusses, one is provoked to reflect upon a number of problems and issues concerning Levinas and film, and although Girgus has nothing particularly helpful to say about most of them, it is worthwhile to have them called to our attention. He dismisses the ethical potential of the encounter to a failure to hear and understand. As Tom Joad, the face of Henry Fonda insists on an answer for the meaning of life 89.
Thus, directors such as Zhang Yimou, Abbas Kiarostami, and Akira Kurosawa and the cinemas of countries in Asia, the Middle East, Africa, and South America all contribute to the diversity of the cinema of redemption. His readings are models of the very best in film analysis. In an original commingling of philosophy and cinema study, Sam B. Fellini and La dolce vita: Documentary, Decadence, and Desire 6. For Derrida and Levinas unhinged time engenders disorder, but it also becomes the condition of possibility for the relationship of time to ethics and the other.
Smith Goes to Washington 1939 , Federico Fellini's La dolce vita 1959 , Michelangelo Antonioni's L'avventura 1960 , John Huston's The Misfits 1961 , and Philip Kaufman's The Unbearable Lightness of Being 1988. Levinas writes, There is no model of transcendence outside of ethics. Also, the work of Paul Ricoeur and David Wood, who usually do not directly address film, and Gilles Deleuze and David Rodowick provides concepts and instruments that can help navigate the place of time in a Levinasian discourse on time and ethics in film. We were subhuman, a gang of apes. Thus, the philosopher Simon Critchley says that for Levinas the relation to the other is asymmetrical.
In the final pages of Chapter One, prior to turning to the main readings of the films, Girgus makes a transition from individual redemption to social and cultural redemption. This interest inevitably has directed attention to connections between Levinas and film. Oliver develops her point by smartly playing on the crucial Levinasian argument that the relationship with the other inescapably means a face-to-face encounter with the humanity of the other that propels the relationship into the realm of infinite time and, for Levinas, infinite responsibility: The relation between time and infinity is necessary not only in the simple sense that we cannot think of not-A without thinking of A or visa versa. Girgus applies Levinas's ethics to a variety of international films. This division of time and the subject for Levinas makes ethics possible in the first place.
Girgus, Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine, Columbia University Press, 2010, 272pp. Girgus establishes Levinas' and his own approach in a persuasive manner, thereby allowing insights into a new area of research in continental philosophy and film for readers who might not be familiar with the writings of the French philosopher. In contrast, Levinas says, the German women and children, who observed the Jewish prisoners and invariably reminded the men of their own families, passed by and sometimes raised their eyes—stripped us of our human skin. Time becomes part of the very artistic structure of these films to present the ethical argument. I introduce this term, the cinema of redemption, to apply a Levinasian lens to the examination of the quest in film for a redeeming ethical experience that centers on the priority of the other. A recipient of the Rockefeller Humanities Fellowship and other scholarly and teaching awards, he has lectured and taught extensively in universities throughout America and the world.
Rather, it is the encounter with infinity through the face-to-face relationship that makes time possible. Smith Goes to Washington 1939 , Federico Fellini's La dolce vita 1959 , Michelangelo Antonioni's L'avventura 1960 , John Huston's The Misfits 1961 , and Philip Kaufman's The Unbearable Lightness of Being 1988. He moves from the rituals of the Navajo and other Native Americans to cultures of Asia and Africa. Girgus tries to show that Antonioni is concerned in L'avventura with women, love, sexuality, and fulfillment, and it is helpful to turn to the criticisms of Levinas's subordination of women in Time and the Other and Totality and Infinity to expose the dialectic and the development in the story of Anna and Claudia, for L'avventura is really their story together and about the growing sense of what love and fulfillment mean for Claudia. Frank Capra and James Stewart: Time, Transcendence, and the Other 3. Girgus not only reveals the power of these films to articulate the crisis between ontological identity and ethical subjectivity.
Table of Contents Acknowledgments Introduction: Time, by Film 1. Register a Free 1 month Trial Account. Girgus offers fresh readings of films from several decades and cultures, including Frank Capra's Mr. . Drawing on the work of Luce Irigaray, Tina Chanter, Kelly Oliver, and Ewa Ziarek, Girgus reconsiders Levinas and his relationship to film, engaging with a feminist focus on the sexualized female body.
Ethics means breaking from the self for the other. For these other films—European films, American films, and other national cinemas—redemption becomes the object of troubled desire, a complex conflict between a yearning for transcendence and the enclosure of embedded immanence. Smith Goes to Washington 1939 , Federico Fellini's La dolce vita 1959 , Michelangelo Antonioni's L'avventura 1960 , John Huston's The Misfits 1961 , and Philip Kaufman's The Unbearable Lightness of Being 1988. Most notably, there is a special issue of the journal Film-Philosophy edited by Sarah Cooper and a fascinating book on the Dardenne Brothers by Joseph Mai. Indeed, by and large Girgus's lengthy discussion of The Misfits and of Marilyn Monroe's performance in it never helps us to understand the face but rather functions as a general reading of the film and especially of Roslyn's character as exemplifying concern for others, sensitivity, and empathy.
Levinas And The Cinema Of Redemption Girgus Sam B can be very useful guide, and levinas and the cinema of redemption girgus sam b play an important role in your products. Thus, Levinas went unmentioned in major works of the 1990s in the field of film and philosophy. Both scenes resist reducing ethics to narrative and character development based on the conventional organization of movement and linearity. Most often, he describes what Levinas has to say -- whether it is by direct citation, quotation from secondary sources, or paraphrase -- in Levinas's own terms. Levinasian thought provides a conceptual apparatus and governing theory of ethics and experience for structuring the elements of the cinema of redemption. Time for Levinas is the moment, it is its interruption, in a relationship to the other, in a relationship face-to-face, in an experience that is relational. Fellini and La dolce vita: Documentary, Decadence, and Desire 6.
Significantly, at the end of The Searchers Ethan takes Debbie home but cannot enter there himself. While gentile friends in France hid his wife and daughter, most of the rest of his family in his native Lithuania died in the Holocaust. Rethinking time in terms of Levinasian ethical transcendence for the other can make time performative, a creative temporal event in itself. Highlighting the infinite demand the other makes on us as singular beings, thinking through the way time is out of joint or unhinged by trauma, and taking on board feminist critiques of Levinas, Girgus sets a very high standard for anyone wishing to follow in his footsteps. Levinasian thought itself, however, requires some redemption.