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Towards a Feminist Cinematic Ethics Claire Denis, Emmanuel Levinas and Jean-Luc Nancy

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Towards a Feminist Cinematic Ethics Claire Denis, Emmanuel Levinas and Jean-Luc Nancy Towards a Feminist Cinematic Ethics Claire Denis, Emmanuel Levinas and Jean-Luc Nancy Kristin Lené Hole Towards a Feminist Cinematic Ethics Towards a Feminist Cinematic Ethics Claire Denis, Emmanuel Levinas and Jean-Luc Nancy Kristin Lené Hole © Kristin Lené Hole, 2016 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in 11/13 Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 1 4744 0327 6 (hardback) ISBN 978 1 4744 0328 3 (webready PDF) ISBN 978 1 4744 0952 0 (epub) The right of Kristin Lené Hole to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents List of Figures vi Acknowledgements viii 1 Encounters, Intrusions: Denis, Levinas, Nancy 1 2 Film Interrupted: Denis, Nancy and an Ethics of Sense 37 3 Otherwise than Hollywood: Denis, Levinas and an Aesthetic of Alterity 86 4 Troubling the Body: Trouble Every Day, Dance and the Non- Mythic Body 117 Coda 159 Bibliography 161 Index 171 Figures 2.1 The student discusses her foreign status in France 38 2.2 The elderly gentleman initially dominates 38 2.3 His status is unclear 39 2.4 Closer frames of the faces of the two interlocutors 39 2.5 The man claims that the intruder is always threatening 40 2.6 ‘We’re unsettled, but something occurs that allows us to change’ 40 2.7 Boni’s back in chiaroscuro 63 2.8 The scene melts away 64 2.9 We see Boni bathed in gold light . 64 2.10 . then cut to him sleeping in bed, in a less rich light 65 2.11 We see his hand slowly and erotically caressing the machine 65 2.12 It is impossible to tell what he is thinking 69 2.13 She’s read about a famous molecule that causes a chemical reaction 69 2.14 At times she seems visibly uncomfortable 70 2.15 She erupts into nervous and pleasing laughter 70 2.16 ‘You can speak of smells in the cinema because you do have bodies present’ 71 2.17 Nénette smells her mother’s sweater as she rifles through her closet 71 2.18 Boni is becoming other through the anticipation of a new life 75 2.19 Her bare stomach appears alien and detached from her body 77 3.1 The camera cuts down to the motorway . 100 3.2 . comes up behind . 100 3.3 . and then around beside Daïga’s car 101 3.4 The ‘queen of the northern hemisphere’ 102 4.1 Sémeneau lovingly washing the gore from Coré’s body 121 4.2 Shane parodies a monster-figure for June at Notre Dame 125 figures vii 4.3 Coré paints the wall with the blood of her victim 133 4.4 The maid’s neck 135 4.5 The camera obsessively captures glimpses of parts 135 4.6 A brief glimpse of Louis’s naked backside, atypically framed 136 4.7 Something happens to his heart as he is swimming 137 4.8 We see another shot of his hand covering the traitorous organ 137 4.9 It is impossible to tell whose skin it is or what we are looking at 141 4.10 We are given only mobile and fleeting glances . 142 4.11 . that close in on skin and hands as they explore and penetrate 143 4.12 We are exposed to this hand exploring this foot in close-up 143 4.13 More-difficult-to-master shots of these singular bodies touching and entwining 144 4.14 Alain dancing to ‘Hey Gyp’ in US Go Home 149 4.15 The Commodores’ song ‘Nightshift’ comes on in 35 Shots of Rum 150 4.16 The neighbour cuts in 151 4.17 The father finds his own romance on the dance floor 151 Acknowledgements I did not write this book alone. It would be remiss of me to write so much about our with-ness without acknowledging the people who were inseparable from the process of writing. Deepest thanks are due to my writing group for all of their support and practical help through this process – Anne Cunningham, Dijana Jelača and Sean Springer. I could not have written this book without their intelligent questions, their close readings of my drafts, and their friend- ship. I would also like to thank my former supervisor and now co-editor, E. Ann Kaplan, for her support and for the opportunity to work together again. Her Feminism and Film anthology was a major force in my undergradu- ate life and she continues to inspire me with her tireless work ethic and the breadth of her work. Victoria Hesford is a model to me as a sophisticated and complex scholar and a generous and skilled teacher. She has supported my work in moments of crisis and has continually challenged me as a thinker. Lisa Diedrich has exposed me to many of the texts that continue to shape my thinking. Her role as a mentor and the opportunities she has cultivated for me and for other emerging scholars over the years represent work that is not nec- essarily visible in the terms valued by academia. Lisa has given me invaluable opportunities, in terms of my intellectual and professional development, that speak to her generosity and her commitment to her students. E. K. Tan has been a great support and encouragement to me. He has pressured my think- ing on issues of the postcolonial and race that have substantially improved my manuscript. Anne O’Byrne gave me confidence in my ability as a philosopher through her many patient conversations with me, usually held in Bryant Park. Rachelle Hole was giving of her time and resources, specifically for thinking about disability as it related to my argument. Sam Girgus made invaluable comments on a late draft and has also been a great supporter of my work. Thanks to my editor, Gillian Leslie, for her interest in my manuscript and for being such a pleasure to work with. acknowledgements ix I would also like to thank Krin Gabbard for all of his support and mentor- ship over the years, from Greek mythology to Lubitsch films, to opportunities to publish and to work on curriculum development. Adrienne Munich also saw early potential in me and patiently worked with me on an article for her Fashion and Film anthology. Her mentorship greatly improved my writing and my confidence. Jesse Walters has been a dedicated and sharp interlocutor throughout the writing process. Our weekly philosophy readings and discus- sions taught me a lot and sharpened my thinking. Greg Bird has also been a long-time friend, former fellow union activist and, more recently, professional support to me. His generosity and desire to help other young scholars succeed in academia is inspiring and shows his great heart. Acknowledgement is also due to my family – Lynell, Michael, Tony, Rachelle, Chris, Al, Terry, Bonnie, Florence and Leroy. Finally, this book is dedicated to my two favourite intruders, Matthew and Pola. chapter 1 Encounters, Intrusions: Denis, Levinas, Nancy . for me, cinema is not made to give a psychological explanation, for me cinema is montage, is editing. To make blocks of impressions or emotion meet with another block of impression or emotion and put in between pieces of explanation, to me it’s boring . [A]s a spectator, when I see a movie one block leads me to another block of inner emotion, I think that’s cinema. That’s an encounter . I think that making films for me is to get rid of explanation . you get explanation by getting rid of explanation. I am sure of that. Claire Denis1 The issue of intrusion has resonances for so much in life – phobia, rejec- tion, desire. Intrusion is always brutal. There’s no such thing as a gentle intrusion. Claire Denis2 intrusions: encountering ethics in the films of claire denis his book is about encounters: between philosophy and cinema, specta- Ttor and film, characters on screen, sound and image, body and text. The encounter is always also an intrusion, undermining the supposed discrete- ness of any body and offering us an ethical way to position ourselves towards one another. In what follows, intrusions generate a feminist cinematic ethics through the encounters staged amongst the work of Claire Denis and of two philosophers, Jean-Luc Nancy and Emmanuel Levinas, although other voices interrupt throughout. Denis is one of the most challenging and distinc- tive filmmakers working in France today. Despite the significant amount of 2 towards a feminist cinematic ethics scholarly attention that her filmmaking has received, the contribution that she makes to a cinematic ethics has not received any sustained analysis. Yet, my argument in what follows is that the ethical facet of her work is one of her main contributions to a cinema of ideas. I title the two permutations of a feminist cinematic ethics an ‘ethics of sense’ and an ‘aesthetic of alterity’, the former the result of an encounter between Denis and Nancean ethics and the latter between Denis and Levinas (these are dealt with in Chapters 2 and 3, respectively). Both an ethics of sense and an aesthetic of alterity are intimately connected to spectatorship as a bodily encounter that challenges dominant Western conceptions of subjectivity. I elaborate on the affective and visceral valences of this encounter in Chapter 4.
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