The dream of the nineteenth century

Camera Obscura

Volumn 17, Issue 3, 2002, Pages 1-29

  Silverman, Kaja ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

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[No Author keywords available]

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EID: 35548952534     PISSN: 02705346     EISSN: 15291510     Source Type: Journal    
DOI: 10.1215/02705346-17-3_51-1     Document Type: Review

References (33)

1. Saul Friedlander has been especially insistent on this point. See, for instance, his "On the Unease in Historical Interpretation," in Lessons and Legacies: The Meaning of the Holocaust in a Changing World, ed. Peter Hayes (Evanston, IL: Northwestern University Press, 1991), 35.
2. See also Probing the Limits of Representation: Nazism and the "Final Solution" ed. Friedlander (Cambridge: Harvard University Press, 1992).
3. Ernst von Arphen offers an excellent account of the opposite position in Caught by History: Holocaust Effects in Contemporary Art, Literature, and Theory (Stanford: Stanford University Press, 1997).
4. See, for example, Tom Milne, "Jean-Luc Godard and Vivre sa vie," in Jean-Luc Godard: A Critical Anthology, ed. Toby Mussman (New York: Dutton, 1968), 82;
5. Godard, "Propos Rompus" and "Ma demarche en quatre mouvements," in Jean-Luc Godard par Jean-Luc Godard, vol. 1, ed. Alain Bergala (Paris: Cahiers du Cinéma, Editions de l'Etoile, 1985), 296-98, 470.
6. Jonathan Dronsfield also comments on the prevalence of these kinds of formulations in Godard's work in "'The Present Never Exists There': The Temporality of Decision in Godard's Later Film and Video Essays," in The Cinema Alone: Essays on the Work of Jean-Luc Godard, 1985-2000, ed. Michael Temple and James S. Williams (Amsterdam: Amsterdam University Press, 2000), 63.
7. As Jean-Luc Douin says in passing, Histoire(s) du cinéma gives us less "the history of cinema than history by cinema" ("Histoire(s) du cinéma," CinémAction 52 [1989]: 79; my translation).
8. André Bazin, "Theatre and Cinema - Part Two," in What Is Cinema? vol. 2, trans. Hugh Gray (Berkeley: University of California Press, 1967), 97.
9. For Bazin's own use of the metaphor, see his "The Ontology of the Photographic Image," in What Is Cinema?, 9-16.
10. Walter Benjamin, The Arcades Project, trans. Howard Eilard and Kevin McLaughlin (Cambridge: Harvard University Press, 1999), 4. Benjamin here is quoting Michelet.
11. This formulation comes from a related text, Benjamin's "Theses on the Philosophy of History," in Illuminations, trans. Harry Zohn (New York: Schocken, 1969), 261.
12. Benjamin, The Arcades Project, 462-63.
13. Walter Benjamin, "A Short History of Photography," Screen 13.1 (1972): 7.
14. As Jean-Louis Leutrat elegantly puts it, "The first impression [of Histoire(s) du cinéma] is that of unstable images, menaced either from the interior, or [by others that are] in competition with them" ("Histoire(s) du cinéma, or comment devenir maître d'un souvenir," Cinémathèque 5 [1994]: 34).
15. Isaghpour, "Archéologie du cinéma," 22-23.
16. G. W. F. Hegel, Phenomenology of Spirit, trans. A. V. Miller (New York: Oxford University Press, 1977), 111.
17. Alexandre Kojève, Introduction to the Reading of Hegel, trans. James H. Nichols Jr. (Ithaca, NY: Cornell University Press, 1969), 52-53.
18. See Frantz Fanon, Black Skin, White Mask, trans. Charles Lam Markmann (London: Pluto, 1986), especially 18-22.
19. See Emile Benveniste, Problems in General Linguistics, trans. Mary Elizabeth Meek (Coral Gables, FL: University, of Miami Press, 1971), 217-22;
20. and Martin Buber, I and Thou, trans. Walter Kaufmann (New York: Simon and Schuster, 1996).
21. Buber, I and Thou, 75.
22. I refer here to chapter 10 of Lilya Kagonovsky's dissertation, "Bodily Remains: The 'Positive Hero' in Stalinist Fiction" (Ph.D. diss., University of California, Berkeley, 2000).
23. (Marcel Proust, Swann's Way, trans. C. K. Scott Moncrieff and Terence Kilmartin [New York: Random House, 1989], 3).
24. For a fuller elaboration of this reading, see Kaja Silverman and Harun Farocki, Speaking about Godard (New York: New York University Press, 1998), 197-227.
25. This is a brief summary of the reading I offer of JLG/JLG in "The Author As Receiver," October 96 (2001): 17-34.
26. See, for instance, Benveniste, Problems in General Linguistics, 224-27;
27. and Jacques Lacan, "Function and Field of Speech and Language in Psychoanalysis," in Ecrits: A Selection, trans. Alan Sheridan (New York: Norton, 1977), 30-113.
28. Mieke Bal also attributes a transformative force to the second-person pronoun. She develops the notion of a "second-person narration" in "First Person, Second Person, Same Person: Narrative as Epistemology," New Literary History 24.2 (1993): 293-320.
29. In Quoting Caravaggio: Contemporary Art, Preposterous History (Chicago: University of Chicago Press, 1999), Bal searches for the second-person pronoun in the field of vision. Activated within aesthetic experience, it is instantiated simultaneously by a work of art and the one who looks at it (204-5).
30. as does much of the monologue in which this concept in embedded (James S. Williams, "European Culture and Artistic Resistance in Histoire(s) du cinéma: Chapter 3A, La monnaie, de l'absolu," in Temple and Williams, The Cinema Alone, 115-16). It has obvious reference to the shots of Godard at the editing table, and - by extension - montage.
31. The first part of this monologue comes from Elie Faure's Histoire de l'art: L'art moderne (Paris: Denoël, 1987), 97-109.
32. am indebted to Michael Temple for this attribution ("Big Rhythm and the Power of Metamorphosis: Some Models and Precursors for Histoire(s) du cinéma," in Temple and Williams, The Cinema Alone, 79-80.)
33. and Marie-Anne Guerin writes that Godard insists in part 4B on "the necessity for a sexual duality" ("Les signes parmi nous" Cahiers du cinéma, May 2000, 12-13).