POST-PHENOMENOLOGICAL ETHICS and the CINEMA Brian K

ABSTRACT Title of Dissertation: SEEING AND THE SEEN: POST -PHENOMENOLOGICAL ETHICS AND THE CINEMA Brian K. Bergen -Aurand, Doctor of Philosophy, 2004 Dissertation directed by: Professor Orrin N. C. Wang Comparative Literature Program What is the re lationship between cinema and ethics, especially an elusive ethics more concerned with responding to alterity than with establishing moral order? Seeing and the Seen addresses this question by demonstrating how three seemingly unambiguous cinematic moments (from nations with totalitarian histories) are structured by ambiguity and aporia. These uncertain structures evoke non-assimilative, non-totalizing ethical responses that counter monolithic interpretations of cinema. Previously, skeptical approaches to cinema have not focused on ethics. They have relied upon hermeneutic techniques to “interpret” elements and then discuss their relevance. Their concerns have been ontological and epistemological. Using the post -phenomenological thought of Emmanuel Lev inas and Jacques Derrida, I argue, however, that skepticism connects cinema to an ethics of response. Chapter One introduces the ideas of post -phenomenological ethics, skepticism, and cinema, to show how their interrelationship actually challenges traditio nal views, such as Levinas’s that see art as unethical. Chapter Two analyzes narrative absence and the ethics of alienation in Michelangelo Antonioni’s L’avventura . I compare ontological and ethical readings of this film to argue against interpreting it as tragic. The final caress between the film’s protagonists is a metaphor for cinematic representations of ethical response. Chapter Three discusses the ethics of pornography in films by Pedro Almodóvar, who shows how pornography and non-pornography remain interdependent. Focusing on cinematic iterability, I demonstrate how pornographic and non-pornographic tropes oscillate between the two genres, rendering their borders uncertain. This uncertainty makes pornography more related to skepticism and ethics than previously imagined. Chapter Four outlines the “total criticism” of the ethics of law in Oshima Nagisa’s cinema. Specifically, I examine how the freeze frame at the end of Merry Christmas, Mr. Lawrence evokes an ethics of the cinema that exposes the gaps of total criticism. The freeze frame is the least discussed cinematic device; however, it provides the most concrete example of the elusive relation between skepticism, ethics, and cinema. The Conclusion argues that these examples are only starting points toward further investigations of how filmic uncertainty highlights the relation between cinema and ethics. In the end, I emphasize this point by responding to instances from contemporary documentary filmmaking. SEEING AND THE SEEN: POST -PHENOME NOLOGICAL ETHICS AND THE CINEMA by Brian K. Bergen -Aurand Dissertation submitted to the Faculty of the Graduate School of the University of Maryland at College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2004 Advisory Committee: Professor Orrin N. C. Wang, Chair Professor Peter Brunette Professor Peter Beicken Professor Giuseppe Falvo Professor Simon Richter Professor Eugene Robinson ©Copyright by Brian K. Bergen -Aurand 2004 ii Preface Wh en I began this study in 1992 two questions drove me toward a further investigation of what was beginning to be called “post -structuralist ethics,” “post - phenomenological ethics,” or sometimes, “the ethics of deconstruction or deconstructive ethics.” This was an ethics concerned with ethics as first philosophy. This was ethics concerned with consciousness of another, of consciousness brought about because of a responsibility toward another. When I was teaching film and criticism at an historically black college on the Eastern Shore of Maryland, I was deeply immersed in Modern American literature, Marxist criticism, and Post -Structuralism. My primary concern lay in negotiating the writings of Michel Foucault, Jacques Derrida, and Luce Irigaray in the light of a Marxist concern for liberation and over -coming self -estrangement. Politics and the relation between literature (mainly print) and alienation were the foundations of my scholarship and teaching. The post -structuralism I was most powerfully drawn to, though, seemed to fall short in regard to this final analysis. It did not seem to be concerned enough with bridging this gap between the aesthetic and alienation. What was post -structuralism not asking? At the same time, I began to explore the cinema of Michelangelo Antonioni and kept returning to the question of the character of Anna in Antonioni’s L’avventura . How can a character who disappears from a film not really disappear from a film, and how can she still be the motivational force behind the fil m when she remains absent from it? I was reading and learning a tremendous amount from theorists associated with the journal Screen , especially Stephen Heath. I was iii learning from and teaching cognitivists such as David Bordwell and Kristin Thompson. And, I was spending a good deal of time with Marxist and Materialist thought inspired by the work of Walter Benjamin. However, the two themes running through the film theory and interpretation I was consulting most (Lacanian influenced psychoanalysis and Mar xism) continued to leave me less than satisfied. What was film theory not asking? In an unexpected way, Emmanuel Levinas’s earlier work on presence and absence and Derrida’s drawing on that work seemed to open new possibilities for answering both questions. Reading the works they had written in response to one another, and to Heidegger (hence the term post -phenomenological ), brought to light the ethical possibility within deconstruction and the deconstructive possibility within the ethical that seemed to address my concerns about relationships and the cinema. At that time Levinas was well below the radar of most critical thinkers, to the point that some of his major works, including Otherwise Than Being or Beyond Existence , were out of print or being remai ndered by their publishers. (I still work from my photocopied version of Otherwise Than Being.) Susan Handleman’s Fragments of Redemption: Jewish Thought and Literary Theory in Benjamin, Scholem, and Levinas had found an eager and respectful audience and marked out a small space for us to begin. Seán Hand’s 1990 Levinas Reader gave those of us who did not read French a smart collection of basic excerpts from which to work. However, The Cambridge Companion to Levinas was nowhere on the map. The major Le vinas websites were not even a dream. And, the over 27,000 hits I got from a Google search on “Emmanuel Levinas” this morning were unthinkable. For the iv most part, mentioning his name required more prefacing than I was often capable of providing. Derrida was well known but little understood in an ethical light at this time, and the need to explain how Derrida had always been interested in post - phenomenological ethics from the start seemed never -ending. Now, after fourteen years of working on this project and studying post - phenomenological ethics as a way to approach questions about ethics, cinema, and deconstruction, I have seen a good number of changes in the field. Ethics linked to skepticism or uncertainty seems less strange for many writers. The lin ks between Derrida and Levinas now appear crucial for a lot of thinkers. And, we Levinasians, as a large group of us took to calling ourselves after a conference in 1999, are a growing community that no longer works in isolation. At least, not in regard to Levinas’s thought. The challenge at the start of the Twenty -first century is that we Levinasians working in post -phenomenological ethics are very much from different fields. We bring different questions to his texts on ethics and religion and walk awa y with new considerations we often still have difficulty relating, even to one another. Isolation threatens yet. Like other branches of post -phenomenology, studies of Levinasian ethics have grown considerably to include more feminist, performing arts, an d political considerations. Visual art still has a way to go in considering what ethics or the call to ethical subjectivity might mean in that realm, but I hope this study provides at least one way to start more conversations. v DEDICATION To Anne an d Jeff vi ACKNOWLEDGEMENTS I would like to thank a number of people for their help on this project. Some have been with me from the start, and for their continued support I want to thank John McConnell, Circe Stumbo, and J. Benson Ray. They have been good friends with the courage to ask me hard questions and remind me what was most important. I would also like to thank Todd Starkweather and Paul Fortunato, two new friends who have helped me craft almost every word of this study. Partners in a reading gro up at the University of Illinois at Chicago, Paul and Todd have read almost every draft of this dissertation and commented extensively on the whole text. (Of course, any and all errors in thought and writing remain mine to the end.) I would also like to thank Jeremy Bushnell, who shared an office with me during the last stages of my writing and listened every time I needed to think out loud. I want to thank Julie Salverson and Joseph Christopher Schaub. Julie’s work on Levinas and theater and Joe’s work on film and consumer culture have always inspired me. In them I find kindred spirits. None of this would have happened without the help and support of my family over these years. Thank you Mom and Don, Dad, Dorian, Scott, Kris, and Eric. Thank you als o, Jackie and Don. You always asked how it was going and encouraged me every time I began to stumble. Finally, I know my work would not be what it is without Orrin Wang, Jeff Gore, and Anne Bergen -Aurand. Thank you, Orrin for your direction and guidance with this dissertation and thank you for keeping me clear and concise.

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