By Elena del Rio
The acting physique privileges the thought of affective strength over the concept of visible shape, and Elena del Rio areas this on the heart of theories of spectacle and performativity. Drawing on Gilles Deleuze's philosophy of the physique, and on Deleuze-Spinoza's proper options of impact and expression, del Rio defines "affective-performative" cinema, the gains of which spread via particular discussions of the events, gestures, and speeds of the physique in numerous movies through Douglas Sirk, Rainer W. Fassbinder, Sally Potter, Claire Denis, and David Lynch. She grounds her research within the body's powers of love, proving the insufficiency of former theoretical ways in accounting for the transformative and inventive capacities of the relocating physique. Deleuze and the Cinemas of Performance will curiosity students and scholars operating with Deleuze, phenomenology, and feminism.
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Extra info for Deleuze and the Cinemas of Performance: Powers of Affection
Accordingly, Sara Jane’s bodily actions are riveted not only by suspenseful uncertainty, but also by the kind of resourcefulness and inventiveness that arise therein.
This reinstates a rigid divide between the human and the nonhuman, since it has become a commonplace, after Lacan, to make language the special preserve of the human . . saying that nature is discursively constructed is not necessarily the same as saying that nature is in discourse . . for in either case, nature as naturing, nature as having its own dynamism, is erased. (Massumi 1996: 231) 9. As Vicki Kirby explains, [w]ord and ﬂesh are utterly implicated, not because “ﬂesh” is actually a word that mediates the fact of what is being referred to, but because the entity of a word, the identity of a sign, the system of language, and the domain of culture – none of these are autonomously enclosed upon themselves.
Communicational models of expression share many assumptions . . the interiority of individual life, its rationality . . the possibility of transparent transmission . . between the private and the public, and the notion that what is transmitted is fundamentally information. All of these assumptions have been severely tested by structuralist, poststructuralist, postmodern, and postpostmodern thought. Communication has long since fallen on hard times and with it, expression. (Massumi 2002a: xiii) Butler is no doubt one of the critics implied in Massumi’s comments.