Ex-centric Cinema: Giorgio Agamben and Film Archaeology PDF
Preview Ex-centric Cinema: Giorgio Agamben and Film Archaeology
Ex-centric Cinema Thinking Cinema Series Editors David Martin-Jones, University of Glasgow, UK Sarah Cooper, King’s College, University of London, UK Volume 10 Ex-centric Cinema Giorgio Agamben and Film Archaeology Janet Harbord Bloomsbury Academic An imprint of Bloomsbury Publishing Inc NEW YORK • LONDON • OXFORD • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Inc 1385 Broadway 50 Bedford Square New York London NY 10018 WC1B 3DP USA UK www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2016 © Janet Harbord, 2016 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. Library of Congress Cataloging-in-Publication Data Names: Harbord, Janet, author. Title: Ex-centric cinema : Giorgio Agamben and film archaeology / Janet Harbord. Other titles: Excentric cinema Description: New York : Bloomsbury Academic, an imprint of Bloomsbury Publishing, Inc., 2016. | Series: Thinking cinema | Includes bibliographical references and index. Identifiers: LCCN 2016009710 (print) | LCCN 2016021676 (ebook) | ISBN 9781628922424 (hardback) | ISBN 9781628922417 (pb) | ISBN 9781628922387 (epdf) | ISBN 9781628922400 (epub) | ISBN 9781628922387 (ePDF) | ISBN 9781628922400 (ePub) Subjects: LCSH: Motion pictures–Moral and ethical aspects. | Agamben, Giorgio, 1942–Criticism and interpretation. | Motion pictures–Philosophy. | Motion pictures–Aesthetics. | BISAC: PERFORMING ARTS / Film & Video / History & Criticism. | PHILOSOPHY / General. Classification: LCC PN1995.5 .H365 2016 (print) | LCC PN1995.5 (ebook) | DDC 791.4301–dc23 LC record available at https://lccn.loc.gov/2016009710 ISBN: HB: 978-1-6289-2242-4 PB: 978-1-6289-2241-7 ePDF: 978-1-6289-2238-7 ePub: 978-1-6289-2240-0 Typeset by Integra Software Services Pvt. Ltd. For Tara Contents Acknowledgements x Introduction 1 1 Girls and Other Incomplete Things: On Archaeological Method 21 Archaeology at the end of the world 21 Incomplete film 27 A fragment of a ruin 30 ‘The Six Most Beautiful Minutes in the History of Cinema’ 32 Philosophical archaeology 35 Typographic man 41 The incomplete girl 44 On the (im)possibility of (in)completion 45 The incomplete girl (ii) 48 Notes 52 2 Gesture: Cinema Muto Mutato 57 Testing 57 Test results: Inner life 58 Running man 60 Engram: Encryptions and transmissions 67 Cinema gives itself up to psychology 71 Seeing inside: Cinematic X-ray machines 77 Biopolitics versus the donkey that craps gold coins 80 Gesture as potentiality 84 Transmitting cinema 88 Notes 94 3 Dim Stockings and Pornography: Community, Spectacle and the Example 101 What is disappearing? 101 Community to come 103 Barely discernable: Dim Stockings 106 viii Contents The spectacle and the mass ornament 109 Pornography 113 Making an example of Chloë des Lysses 118 The example of Soad Hosny 122 Notes 126 4 Cinema as Laboratory: On Insects and the Anthropological Machine 131 Flight 131 Types of machine I: The lottery machine 133 Interval 135 Mon Maître Marey 137 Mon Maître La Grosse Mouche Bleue 138 Types of machine II: The animal machine 139 Insect temporality 141 Divine insects 143 Air 145 Accident 147 Carriers of significance 148 Stones 150 Muteness 152 Incubators 155 Teleporting the interval 157 Types of machine III: The anthropological machine 158 Animal. Mineral. 160 Worlds 163 The concealedness of cinema 164 Notes 165 5 When the Assistants Profane Cinema 169 Do it yourself: Instruction or description? 169 Lively matter 171 Assistants assisting 174 Amateur practices: Birt Acres makes the Birtac in conditions of dissent 180 Parody: A literary digression 186 St Anthony patron of lost things 190 Contents ix Play and profanation 194 When this becomes that 196 Notes 200 6 Ex-centric Cinema 205 Towards X 205 Assembling the cinematic machine: Three scenes from the separation of life 206 Selective exclusions 211 The machine at work: Producing centric cinema 214 A nameless science 217 Ex-centric cinema as transmission 219 Ex-centric cinema as aggregate 222 Ex-centric cinema as impotentiality 225 Are films dead letters? 229 Playout 231 Notes 232 Bibliography 235 Index 245
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