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• W2955536410 abstract "Love in the Visual Field:Cinephiliac Moment, Truth-Event, Movement of Thought Jeremy De Chavez (bio) To which surface of the eye do lips compare? If two gazes look into each other's eyes, can one then say that they are touching? Are they coming into contact—the one with the other? Jacques Derrida, On Touching—Jean-Luc Nancy When Our 'Is Touch Touch is perhaps the sense with which love is most closely identified. After all, love has been generally conceived, in terms of proximity, as identitarian, which is love of the same, and as fusional, which is love making the same (Hardt and Negri 182–83). In contrast, sight, which presumes distance between the bearer of the look and the object looked at, is the domain of desire. In a sense, what makes a desired object desirable is precisely its distance, for it remains a promise of satisfaction perpetually deferred, a story whose genesis occurs with méconnaissance, the jubilant assumption of his specular image by the child at the infans stage, a product of mis-placed narcissism (Lacan 2). This essay places into question those sedimented associa—tions—that love involves proximity, desire, distance—by asking how love might appear in the visual field. Toward that goal, it will engage theories of cinematic spectatorship that have conceptually welded acts of looking with desiring. The main agenda of this essay is to initiate the theorizing of an alternative form of looking, an amorous look,1 whose ontology is not predicated on (mis) recognition and is not dependent on the antagonism inherent in the binaries masculine/feminine and (gazing) spectator / (to-be-looked-at) [End Page 55] image. By theorizing an amorous look, I attempt to avoid being locked in a method of analysis that assumes distance between the bearer of the look and the looked-at object, a mode of thinking about the cinematic experience that accepts a radical division between subject and object, spectator and screen, gaze and image. In doing so, I accept the challenge of Jacques Rancière to imagine a theatre without spectators (Rancière 3). I locate my theoretical intervention in what Levi Bryant, Nick Srnicek, and Graham Harman call the speculative turn. In The Speculative Turn: Continental Materialism and Realism, Bryant, Srnicek, and Harman chart the development of continental thought that is slowly moving away from an exclusive focus on textuality and discourse. They argue that knowledge with an antirealist core (and they identify phenomenology, structuralism, poststructuralism, deconstruction, and postmodernism as forms of this knowledge) has not only reached a point of decreasing returns but actively limits the capacities of philosophy in our time (3). Speculative thinkers (such as Alain Badiou, Gilles Deleuze, Slavoj Žižek, Bruno Latour—and I would include Roland Barthes in this list) aim at something 'beyond' the critical and linguistic turns and brave the more realist domain that involves questions of Truth, Reality, the Absolute, the noumenal (3, 5). But how might a genuine moment of amorous looking emerge within the ideological structures of cinema, which is cut to the measure of desire (Mulvey, Visual Pleasure 39)? Film Theory posits that the spectator's attention is secured by visual pleasure and sustained in narrative cinema through identifications with the gaze of the apparatus. But might it be possible to imagine alternative ways of looking that do not always presume an ideologically vulnerable spectator who is so easily coerced by the pleasures of looking? In addition, do ways of (cinematic) looking necessarily presume that such an encounter is one that is framed within the terms of (visual) pleasure? Instead of desire and pleasure, is it not possible that the cinematic experience solicits love and thought? Toward an answer to those questions, in the pages that follow I conceptualize a mode of amorous looking that eschews logics of desire and seductions of pleasure in favor of a response to the ethical demands of thought. I turn to the work of Alain Badiou, whose ontology offers film discourse conceptual tools that enable new ways of thinking about affective connections in the visual field. [End Page 56] FromVisual Pleasure to A Movement of Thought Central to my inquiry is..." @default.
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• W2955536410 date "2018-01-01" @default.
• W2955536410 modified "2023-10-17" @default.
• W2955536410 title "Love in the Visual Field: Cinephiliac Moment, Truth-Event, Movement of Thought" @default.
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• W2955536410 doi "https://doi.org/10.1353/mml.2018.0009" @default.
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