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• W1257676870 abstract "Monumental in ambition, Lucien Castaing-Taylor and Verena Paravel's 2012 documentary Leviathan is hardly monolithic. Like famous frontispiece of Hobbes's treatise, film contains unruly multitudes. The fluidity of its mobile gaze and its hidden splices belie incommensurable contradictions; scholarly imprimatur of Sensory Ethnography underplays both its wild abstraction and its calculated rhetoric. As greatest maritime narratives, Leviathan is document of contests-between forms of life, between forms of representation. This article, too, attests to struggle, between my admiration for film's vivid renderings of interspecies encounters and my misgivings about its representations of labor.Such fissures all but disappear when we grant, we must, that few films in recent memory have achieved such remarkable parity of formal innovation and philosophical ambition. The former marries elements of avant-garde cinema to ethnographic film; latter seeks nothing less than redistribution of agency across species lines. Both proceed by rejecting human subjectivity primary measure of experience.Exploring ecosystem surrounding New Bedford commercial fishing vessel, Castaing-Taylor and Paravel's roving cameras register bristling interactions of human, animal, ecological and technological actors, all of whom are granted screen credit for their input to film. Human actors no longer play central roles in this environmental drama; rather, diverse natural and technological agents mutually establish arenas of contact and conflict. To capture this diversity, filmmakers forsake both spoken language and camera's conventional surrogacy for human eye, stressing sonic and visual alterity of digital sensorium. This sensory alienation, however, is not an end in itself. Leviathan marshals our perceptual empathy machines, our ability to identify and reorient ourselves from such mediated perspectives, to forge new relationships between humans, machines and other forms of life.Leviathan contributes to an ongoing phenomenological renegotiation of eye/I dyad. The scheme of monocular perspective was once thought to fulfill same function acquisition of language; identifying camera led to assumption of subject position in symbolic order. However, in recent years, film scholars have challenged notion that the spectator's identification cinema leviathan's labors lost [is] constituted almost exclusively specular and psychical process abstracted from body and mediated through language.1 For Vivian Sobchack and others, identification camera is no longer discursive function of ideological interpellation. Rather, cinematic vision is celebrated coproduction of an embodied viewer and technological sensorium.2 Leviathan mobilizes this hybrid being produced between audience and screen in order to effect a kind of visuality [...] that is labile, able to move between identification and immersion and within multiple human and non-human perspectives.3 To achieve this expanded mode of identification, film pursues four experimental formal strategies: redirection of focus away from human towards other entities; assumption of perspectives alien to human eye; an emphasis on abstraction introduced by digital apparatus; and categorical rejection of language. Traditional constructs of cinematic subjectivity are dismantled, opening onto new, immersive vision of human-technological or cyborg hybridity; this hybridity in facilitates renewed, embodied relationships other species and environmental systems at large, encouraging us to see with and see as multiple human and non-human entities.In effect, film's form recapitulates three stages of development of what has been called posthuman turn in humanities.4 Drawing from number of emergent perspectives in philosophy, actor-network theory, political ecology, animal studies, science and technology studies, biology and anthropology, posthumanism, like world depicted in Leviathan, is highly contested space, an intellectual ecosystem intricate those it aims to describe. …" @default.
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• W1257676870 date "2015-04-01" @default.
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• W1257676870 title "LEVIATHAN'S LABORS LOST, Or: WHO WORKS AFTER THE SUBJECT?" @default.
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