The IDEOLOGY of FORMLESSNESS?
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Keesey. Published in Cultural Politics, 11(3): 426-429. November 2015. Book Review The IDEOLOGY of FORMLESSNESS? Douglas Keesey The Films of Claire Denis: As the frst book-length study in English of French flm director Intimacy on the Border, Claire Denis since the groundbreaking monographs of Mar- edited by Marjorie Vecchio, London and New York: tine Beugnet (2004) and Judith Mayne (2005), this collection I. B. Tauris, 2014, 288 pages, of original essays is most welcome. Between then and now, $28.00/£16.99 (paperback), not only has Denis added to her impressive oeuvre with such ISBN 978-1-84885-954-8 signifcant flms deserving of attention as L’Intrus (The Intruder, 2004), 35 rhums (35 Shots of Rum, 2008), and White Mate- rial (2009) but a number of important articles have appeared to shed further light on this enigmatic director (see Beugnet 2008; Williams 2009–10; Asibong 2011; and Galt 2014). This new collection begins with a series of interviews with cast and crew members: musicians Dickon Hinchliffe and Stuart Staples, editor Nelly Quettier, actor Alex Descas, and Denis herself. Twelve essays by academics then follow, divided into three sections: “Relations,” “Global Citizenship,” and “Within Film.” Denis’s flms have focused on French nationals in colonial and postcolonial Africa (Chocolat, Beau Travail, White Material) and on excolonial subjects in the European metropole (S’en fout la mort [No Fear, No Die]; J’ai pas sommeil [I Can’t Sleep]; 35 rhums). (Denis herself spent her childhood in Africa as the daughter of a colonial administrator. In France, she studied economics before going to flm school, and she has actively campaigned for the rights of sans-papiers .) The subject matter of Denis’s flms thus invites a political reading, but the style with which she approaches these subjects tends to pull away from plot and character, even from fguration itself, making political readings problematic. For example, Beau Travail The IDEOLOGY of FORMLESSNESS? concerns French foreign legionnaires in Dji- could be a politics of or within the informe. bouti, but it is “far more assertively a flm Firoza Elavia defnes Denis’s L’Intrus as of surfaces rather than politics (or charac- a flm of Deleuzian “time-images” in ters): of bodies in motion and at rest and which “actions become indecipherable of the coiled potential within them” (219), and ambiguous when words evaporate, as Adam Nayman and Andrew Tracy note moving in amorphous ways” (194). Adding in this essay collection. Denis’s emphasis to the amorphousness are scenes that on the informe (the inchoate, the nascent, call to mind Deleuze’s “crystal image of the transitional) poses a particular chal- time, where there is no way of orienting lenge for critics interested in the ideology ourselves between what is real and what of form. Her flmic experimentation with is imaginary” (195). Elavia argues that, as tactility, embodiment, affect, and immer- a result of these “interstitial disjunctions,” sion—these being some of the modes in the “spectator invariably creates connec- which the informe manifests itself in her tions between the spatio-temporal gaps” work—has provoked considerable critical and that “unexpected ways of perceiv- refection regarding what politico-aesthetic ing, remembering or understanding” are concepts, if any, might be adequate to thereby made possible (197). This viewer- an understanding of her flms’ peculiar response approach effectively conveys the “formlessness.” sometimes radical ambiguity of Denis’s In an essay on Denis’s depictions of flms, but without more attention to the (often immigrant) labor, Rafael Ruiz Plegue- specifc prompts her movies provide, this zuelos notes that “very often the only real- reading threatens to dissolve into a series istic passages” in her flms are the ones of purely individual subjective responses. “devoted to job routines” (137), and he Laura McMahon considers the “dancing infers from this that “Denis seems to be bodies” in Denis’s oeuvre as “an ethical very interested in showing how humiliating and political model of syncopated together- this work for foreigners can be” (141). If ness” (176), arguing that in Beau Travail, one approach to the problem of discerning as the French legionnaires dance with the politics of Denis’s flms is to focus on African females, the “uniform(ed) queer their most social-realist moments, another body of the Legion is shown to be dis- is to fnd in even the most sensory and persed by the racial and sexual difference immersive of her movies a sociopolitical of the Djiboutian women” in an exhibition allegory, as Florence Martin does when of Jean-Luc Nancy’s concept of “being- she reads Trouble Every Day, often cited with —that is, a mode of commonality as an exemplar of this director’s “cinema without communion, without hypostatisa- of the senses,” as showing how “the tion into any one collective identity” (178). Other from the ‘developing’ world remains This intriguing notion is nevertheless quite subjected to the First World neo-colonialist abstract, leaving us to wonder about the eager to frenetically produce and con- political specifcs of the dancing relation sume” (130). In this way, the sensory discussed here: Is it one of social or gen- experiences in and of the flm are bound der equality? Are we meant to think that into making political sense. the bodily contact between dancers tem- Still other contributors look for a via porarily overcomes the power imbalance, media between realism and allegory, and if so, what real transformative effcacy exploring the possibility of whether there does such contact have? Interestingly, Douglas Keesey when McMahon discusses lead character These concepts of scar, collage, Galoup’s solitary dance at the end of the dance, and dissensus help us to see flm, one that he apparently imagines while Denis’s experiments in “formlessness” dying, she implicitly acknowledges that as ways of imagining new modes of this dance may have been without social relationality involving “a movement of effcacy within the world of the flm, but approach rather than appropriation,” which she argues that it functions as an “ethos McMahon likens to “Emmanuel Levinas’s of gesture,” a bodily appeal to the spec- thinking of ethics as a relation to irreduc- tator for “empathy” beyond conventional ible alterity” (182–83). However, as several notions of “identifcation” (French with contributors rightly point out, establish- French, male with male, or the like) (181). ing a positive relation to others and to Here McMahon is more specifc than the otherness within is much easier to Elavia about the kinds of ethical cues that envision in the abstract than it is to enact Denis’s somatic cinema may provide to in historical reality: “Notions of hybridity viewers. and third space,” Cornelia Ruhe notes, Seeking to defne the originality of “might work well in theory but are hard Denis’s editing practice, Sam Ishii-Gonzales to live with on a daily basis” (119). Some- differentiates it from standard “montage” times it seems as though one’s sense of leading to “consensus”; instead, Denis’s “being with” the world must constantly cutting creates a “collage” resulting in run athwart historical reality, as when “dissensus”—with this last term bor- Nénette (in Nénette et Boni) “revels in the rowed from Jacques Rancière and his water before being violently extracted from notion of a “true political community” as this reverie . to the harsh reality she one that “preserves ‘the solitude of being faces: a teenage pregnancy” with its social together’” (79), not subsuming entities opprobrium (Noëlle Rouxel-Cubberly, 168). into a predetermined unity but “leaving Even when one is able to bridge the social open the question of what it might mean divide between self and other through a to exist in relation” to one another (87). kind of somatic sympathy, how can one Henrik Gustafsson develops a similar idea keep from becoming appropriative or in connection with point of view, arguing assimilationist? When Maria shelters the that Denis “follows a logic of ‘scars’ rather wounded African rebel in White Material, is than ‘suture’” (209). Instead of suturing the this “a connection between two subjects viewer to the imperialist gaze of a char- who have been ideologically positioned as acter surveying the colonized landscape each other’s ‘Other,’ but who, in a sublime (as in White Material where, “insisting on instant of transcendence, have been per- her belonging and right to the land, Maria mitted mutual touching and protection that refuses to perceive her own foreignness” can take place only within a quasi-mystical [212]), Denis “infict[s] a cut that breaks up space of exception” (Asibong 2011: 159)? the link between subjective viewpoint and Or is this “momentary connection across physical environment” (209) (as at the end gender and race . more like narcissistic of Chocolat where the camera foats free identifcation on her part” (92), as James S. of the no-longer-privileged gaze of a char- Williams suggests? How can a physical acter named France as she sees the backs compassion for the other be translated into of some excolonial Africans, one of whom historical reality and not just into a “quasi- may have been her former servant). mystical space of exception” from it? How The IDEOLOGY of FORMLESSNESS? can we know whether a “felt” connection References to the other is mutually benefcial and not Asibong, Andrew. 2011. “Claire Denis’s Flickering consuming or narcissistic? Spaces of Hospitality.” L’Esprit Créateur 51 (1): In her provocative book Cinema and 154–67. Sensation, Martine Beugnet (2007: 17) Beugnet, Martine. 2004. Claire Denis. Manchester, UK: Manchester University Press. argues that, “as fowing, embodied forms Beugnet, Martine. 2007. Cinema and Sensation: French of thought,” flms like Claire Denis’s “can Film and the Art of Transgression.