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• W229562219 abstract "This article engages with several artists and filmmakers working in Lebanon's period and the way they use experimental media in order to envision the experience of social catastrophe. Advancing the idea of a withdrawn subjectivity, likened to a state of undeath, these projects accentuate the gap between sign and signified in order to mediate the phantoms of war without necessarily rendering them visible. Like vampires, the phantoms of Lebanon's wars bear no reflection and cannot be imaged directly. This article asks if the representation of monstrous specters can elucidate the invisible, unsayable, and unrepresentable under conditions of amnesia. ********** I don't have a homeland to say I live in exile.... I live in postmortem ... daily life, daily death. --Elia Suleiman On the one hand, this invitation to meet the corpse should not be mistaken for a call to embrace materiality, a return to hard facts and familiar corporeality. For a corpse is precisely that which sheds its own name, becomes unfamiliar. Unnamable, the corpse is unrecognizable and yet tangibly available. On the other hand, it would be equally mistaken to consider the work an invitation to side with a subversive historical narrative written from the point of view of the defeated. Rather, a corpse is governed by a downward-spiraling dialectic coursing endlessly toward ruination; it is incapable of safeguarding a memory. Introduction Many contemporary Lebanese artists and filmmakers subversively engage visual media in an effort to disrupt the expectations of official and objective 'truth telling.' This body of experimental media provides a critical historiography of Lebanon's recent past, particularly in regards to the country's fifteen-year civil war. The intent is not to replace one 'false' history with another 'true' one, but to go against the grain of sanctioned forgetfulness, commonly referred to as amnesia. This cadre of experimentalists who dominate the public culture of art, documentary, and cinema have engendered a mission to challenge the dominant political and social discourses implicated by the Lebanese wars. (1) In a manner of speaking, this particular constellation of artists has kidnapped the historical record in an act of urgent sabotage. This provides a distinctly different approach to the spectacular and sensational reporting provided by Western media. Critical of naturalized notions of cultural predispositions toward violence, this work embeds everyday anxieties within historical and political contexts which have been inscribed with temporal and spatial catastrophe (Chakar, Catastrophic Space). Indeed, much Lebanese experimental documentary produced during the last decade explores the everyday violence that permeates the social landscape and perpetuates a tyranny of uncertainty about the future. This mode of critique is all the more significant considering its emergence during Lebanon's so-called postwar era. While the usage of post engenders a periodization by marking moments of significant transition, the notion of a period of peace has been rendered oxymoronic in the return of widespread bloodshed during recent years. Although not explicitly prophetic, the themes of unresolved trauma prefigure the political turmoil that has been unfolding since the 2005 assassination of former Prime Minister Rafiq Hariri and the 2006 Israeli invasion intended, albeit unsuccessfully, to dismantle Hezbollah's military apparatus. Indeed, Hezbollah has become more influential in domestic politics, partly by renewing 'wartime' political violence against opposition parties in May 2008. Even before these recent episodes, however, Lebanon's peace can better be characterized as a state of emergency kept in check by two occupying forces: Israel and Syria. I should note that although I continue to use the term postwar, I remain suspicious and antagonistic to the falsely forwarded premise that means the end of violence. …" @default.
• W229562219 created "2016-06-24" @default.
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• W229562219 date "2010-01-01" @default.
• W229562219 modified "2023-09-26" @default.
• W229562219 title "Catastrophic Subjectivity: Representing Lebanon's Undead" @default.
• W229562219 hasPublicationYear "2010" @default.
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