Lorna's Silence and Levinas's ethical alternative: form and viewer in the Dardenne Brothers
This paper explores the possibilities of Emmanuel Levinas's philosophical description of the ethical life for understanding the experience of viewing a film, and this with two related goals in mind. The first is to provide a sustained Levinasian reading of the Dardenne Brothers' Lorna's Silence as an alternative to political or traditionally ethical approaches. This is necessary because the sensuous quality of Lorna's moral conversion is best understood through a set of metaphors used by Levinas to describe his ‘pre-ontological’ ethical philosophy: metaphors of the caress, the feminine and maternity. A second goal is to account for how this film's formal qualities create an encounter between viewer and film that echoes Lorna's encounters in the fictional world. To this end, the paper squares Levinasian ethics with André Bazin's realism by trimming from Bazin's work the notion of a gathered, individual subjectivity and emphasizing themes of encounter and dislocation. Lorna's Silence gives a fresh illustration of the cinema's power to encourage viewers to strive toward an altruistic notion of human relations.
On the history of film style
The Way Movies Look: The Significance of Stylistic History Defending and Defining the Seventh Art: The Standard Version of Stylistic History A Developing Repertoire: The Basic Story Film Culture and the Basic Story The Standard Version: Central Assumptions Coming to Terms with Sound Bardeche, Brasillach, and the Standard Version Against the Seventh Art: Andre Bazin and the Dialectical Program A New Avant-Garde The Evolution of Film Language Toward an Impure Cinema From Stylistic History to Thematic Criticism The Return of Modernism: Noel Burch and the Oppositional Program Radicalizing Form The Institutional Mode and Its Others Living Shadows and Distant Observers Prospects for Progress: Recent Research Programs Piecemeal History Culture, Vision, and the Perpetually New Problems and Solutions Exceptionally Exact Perceptions: On Staging in DepthIdeology and Depth Making the Image Intelligible Dumb Giants Depth, Decoupage, and Camera Movement Redefining Mise en Scene Expanding the Image and Compressing Depth Eclecticism and Archaism Notes Index
On Fascist Ideology
Fascism is a political ideology that encompassed totalitarianism, state terrorism, imperialism, racism and, in the German case, the most radical genocide of the last century: the Holocaust. Fascism, in its many forms did not hesitate to kill its own citizens as well as its colonial subjects in its search for ideological and political closure. Millions of civilians perished on a global scale during the apogee of fascist ideologies in Europe and beyond. In historical terms, fascism can be defined as a movement and a regime. Emilio Gentile – who, with Zeev Sternhell and George Mosse,2 is the most insightful historian of fascism – presents fascism as a modern revolutionary phenomenon that was nationalist and revolutionary, anti-liberal and anti-Marxist. Gentile also presents fascism as being typically organized in a militaristic party that had a totalitarian conception of state politics, an activist and antitheoretical ideology as well as a focus on virility and anti-hedonistic mythical foundations. For Gentile a defining feature of fascism was its character as a secular religion which affirms the primacy of the nation understood as an organic and ethnically homogenous community. Moreover, this nation was to be hierarchically organized in a corporativist state endowed with a war-mongering vocation that searches for a politics of national expansion, potency and conquest. Fascism, in short, was not a mere reactionary ideology. Rather, fascism aimed at creating a new order and a new civilization.3 The word fascism derives from the Italian word fascio and refers to a political group (such as the political group lead by Giuseppe Garibaldi during the time of Italian unification.) Fascism also refers visually and historically to a Roman imperial symbol of authority. Its place of birth as a modern political ideology was northern Italy, the year was 1919, and its founder was Benito Mussolini. Thus, fascism as a term as well as a political movement was born on the Italian peninsula. Its ideological origins, however, predated its name. The fact that fascism was born as a concept before its explicit birth as a movement is central to any understanding of fascism. The ideology of radical nationalism that made it possible was part of a larger intellectual reaction to the Enlightenment.4 This tradition was both European and, in the Latin American case, “non-European” as well. To be sure, the original ideology behind fascism was born as a reaction to the progressive European revolutions of the long nineteenth century (from the French revolution of 1789 to the American and Latin American revolutions of 1776 and the 1810s). Fascism represented a post-revolutionary attack against equality. The ideology of the anti-Enlightenment is the major root of the longstanding ideological tradition that created fascism. Its branches constituted a reaction against liberal politics and a rejection of democracy. And yet fascism did not oppose the market economy and put forward a corporatist organization that aimed to be functional to capitalist accumulation. Equally important, fascism is a philosophy of political action that ascribes value to absolute violence in the political realm. This ascription was boosted by one radical outcome of the