: 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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The Threshold of the Visible World by Kaja Silverman

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. The call to revitalize a cinematic avant-garde implies at least two thgs: Aylin Onacak rated it it was amazing Jun 28, Mary Ann Doane, Femmes Fatales: Vosible rated it did not like it Oct 31, The “independent,” “experimental,” or art house film exists today because new, more flexible modes of accumulation have rendered niche marketing viable-so that threshod remains possible to produce and distribute a specialized visual product to a sharply delimited con- sumer public.

Jess rated it really liked it Apr 03, Emphasizing that the image is never autonomous with respect to capital, Shohat and Stam also insist that the mode of the im- age’s consumption is never wholly subordinate to the film’s visu- al and narrative designs.

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The Threshold of the Visible World

Is the Mirror Racist?: But for hooks, it is precisely by presenting an assimilable image, by rendering the identification closer, that al- ternative film transforms the nature of cinema’s hail. In The Threshold of the Visible World she creates an aesthetic model capable of assisting us in the seemingly impossible task of loving bodies which are both different from our own, and culturally despised.

Connecting Vision with the World: In thrwshold years, especially, hooks has en- gaged in the sustained and compelling critique of a corporate multiculturalism, which sells the consumer public on the fantasy of free passage. Want to Read Currently Reading Read. 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 threshols Africans.


Highlighting assumptions which often inform critical prose in more muted, if no less determining ways, The Visigle of the Visi- ble 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. Packed with care, shipped promptly. In this way, the conception of the image as relay surreptitiously resuscitates a sovereign subject, one who ex- ists somehow apart from wofld social and symbolic systems that en- gendered her and that remain more fully determining for the lives of ordinary women and men.

As Silverman succintly puts it, these figures represent “the otherness of the desired self. This book thus seeks to apprehend the field of vision through the frame of a different kind of bodily ego, and discover the pleasures to be derived from corporeal transport.

To be sure, hooks sees the project of Sera’s restorative self-era- sure compromised within the broader narrative frame, which insists, in conformity to Hollywood’s norms, on her sensational and brutal abasement.

Leigh rated it liked it Mar 28, University of Illi- nois Press, Multiculturalism and the Media New York and London: Shohat and Stam’s scholarshp provides a useful counterpoint to The Threshold of the Visible World and Reel to Real because it nei- ther brackets the questions of cinematic identification central to Silverman’s and hooks’s recent work nor isolates these questions from film’s material and institutional mediations.

Nasha rated it really liked it Mar 26, Visibpe Silverman, to advocate an anti-identificatory cinema repre- sents a naive attempt to bypass the operations of the unconscious and so to engage kzja a discredited project of ideological demystifi- cation p.

In a notable example, they detail the si- multaneously compulsory and failed nature of the colonized sub- ject’s identification with Tarzan, the eponymous hero of the film. Paperback The item is fairly worn but still readable. 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” kjaa our privilege, which begins with avowing its historical consequences, rather than en- deavoring, once again, to find passage to the other’s world.


The Threshold of the Visible World, in asserting our “need for more texts of the sort fea- tured in tl-us book” p.

Thus, both hooks and Silverman seem to posit a viewer who identifies only in relation to the social cate- gories of gendered, racial, class, or sexual identity set forth by the image. Be the first to ask a question about The Threshold of the Visible World. DeShazer – – Journal of Bioethical Inquiry 11 4: Nevertheless, hooks speaks in positive terms of Sera’s movement into self-obliterating love.

Rather, “identity-at-a-distance” points to an “ethical” or “produc- tive” form of looking, in which one affirms the “otherness of the desired self” and thereby, ultimately, the “familiarity of the de- spised other” p.

Race, Sex, and Class at the Movies. 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.

Jacob Rogozinski – – Stanford University Press. Andrew rated it it was amazing Mar 19, Lacan intimates that the mirror provides the frame through which one relates to others within the domain of vision, stressing the priority of narcissism and the ego over all other libidinal transactions.

Silvermxn 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?