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UNIVERSITY of CALIFORNIA Los Angeles the Politics of Eros: the Philosophy of Georges Bataille and Japanese New Wave Cinema a Di

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UNIVERSITY of CALIFORNIA Los Angeles the Politics of Eros: the Philosophy of Georges Bataille and Japanese New Wave Cinema a Di UNIVERSITY OF CALIFORNIA Los Angeles The Politics of Eros: The Philosophy of Georges Bataille and Japanese New Wave Cinema A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Andrey Gordienko 2012 © Copyright by Andrey Gordienko 2012 ABSTRACT OF THE DISSERTATION The Politics of Eros: The Philosophy of Georges Bataille and Japanese New Wave Cinema by Andrey Gordienko Doctor of Philosophy in Film and Television University of California, Los Angeles, 2012 Professor Kathleen McHugh, Chair This dissertation assesses the relevance of Georges Bataille’s philosophy for film studies and explores the conjunction between the political and the erotic operative in his work. It is widely held that, at the time of the German occupation of France, Bataille experienced the “inward turn,” which had marked his transformation from being a political activist to a solitary philosopher preoccupied with eroticism. My project contests the view that he had lost interest in politics at that point as it discloses the political dimension of erotic experience. Furthermore, I demonstrate that the logic of the “inward turn” helps to illuminate the work of Japanese New Wave film movement of the 1960s. What precipitates the “inward turn” is the experience of disappointment. In Bataille’s case, it stems from the rise of fascism in Europe and the failure of the Left to assume power in France. In the case of Japanese New Wave, it has roots in the political protest movement that opposed yet ultimately failed to offset the renewal of the Japan- U.S. Mutual Security Pact of 1960. In each case, the turn towards eroticism constitutes a different kind of refusal – an act of separation from the social order as opposed to an act of destruction, a movement away from the community of militants and towards the community of lovers. ii The dissertation of Andrey Gordienko is approved. George Baker Janet Bergstrom Kenneth Reinhard Vivian Sobchack Kathleen McHugh, Committee Chair University of California, Los Angeles 2012 iii TABLE OF CONTENTS Introduction: Film and Bataille’s Philosophy 1 I Mass Sovereignty and the We-Subject: Bataille and Contre-Attaque 29 II Reading Bataille with Deleuze and Guattari: On Microfascism 60 III Pack Fascism in Seijun Suzuki’s Fighting Elegy 103 IV “The Freedom of the Wild Animal”: Sovereignty, Animality, Madness in Kihachi Okamoto’s The Sword of Doom 145 V The Erotic Community in Yasuzo Masumura’s Blind Beast 197 Afterword: On Yasuzo Masumura’s Red Angel 252 Filmography 255 Bibliography 256 iv VITA Andrey Gordienko EDUCATION M. A. Cinema and Media Studies, UCLA Department of Film, Television, and Digital Media (June 2005) B.A. English and Film Studies, University of Rochester (June 2002) AWARDS AND FELLOWSHIPS: 2011-12 Graduate Division Dissertation Year Fellowship 2011 Andrew W. Mellon Dissertation Seminar in the Humanities 2006 Graduate Summer Research Mentorship Fellowship RESEARCH INTERESTS: Film theory and philosophy; European film history; Japanese cinema; avant-garde film; documentary; relationship between cinema and other arts; feminist theory; authorship; psychoanalysis. CONFERENCE PRESENTATIONS: Conference Papers: “Dalí in Wonderland: The Surrealist Object in Jan Svankmajer’s Alice.” Annual Conference of the Society for Cinema and Media Studies. Chicago, IL. Mar 8-11, 2007. “To Live and Die like an Animal: The Sovereign in Kihachi Okamoto’s The Sword of Doom.” Annual Conference of the Society for Cinema and Media Studies. Los Angeles, CA. Mar 17-21, 2010. Conference Panels Chaired: “The Cinematic Life of Objects.” Annual Conference of the Society for Cinema and Media Studies. Chicago, IL. Mar 8-11, 2007. “A Cinematic Bestiary: The Animal in Film and Philosophy.” Annual Conference of the Society for Cinema and Media Studies. Los Angeles, CA. Mar 17-21, 2010. TEACHING EXPERIENCE: Teaching Fellow: French Cinema and Culture (French 41), UCLA, Fall 2008 v Teaching Associate: Film Authors (FTV 113), UCLA, Summer 2008, Session A Teaching Associate: History of American Motion Picture (FTV 106A), UCLA, Spring 2008 Teaching Associate: History of European Motion Picture (FTV 106B), UCLA, Fall 2007 Teaching Associate: History of the Documentary Film (FTV 108), UCLA, Fall 2006 Teaching Assistant: Asian Action Films (FTV 188G), UCLA, Spring 2006 Teaching Assistant: History of American Motion Picture (FTV 106A), UCLA, Fall 2005 Teaching Assistant: History of American Motion Picture (FTV 106A), UCLA, Fall 2004 PROFESSIONAL EXPERIENCE: Graduate Student Researcher at the Center for the Study of Women, UCLA (January 2009 – August 2011) Contributed to research project, Women’s Social Movements in Los Angeles 1960-1999 Conducted oral history interviews with artist Nancy Angelo Internship at the Motion Pictures Department of the George Eastman House, Rochester NY (Summer 2000) OTHER EXPERIENCE: Translation (from Russian into English): Fevralsky, Aleksander. “Currents in Art and the ‘Radio-Eye.’” Historical Journal of Film, Radio and Television vol. 28, issue 1 (2008): 65-70. Volunteer Work: Served as a volunteer at the Thinking Gender Graduate Student Conference at UCLA (February 11, 2011) Served as a volunteer at the New Majorities, Shifting Priorities Conference at UCLA (March 4, 2011) ACADEMIC MEMBERSHIP: Society for Cinema and Media Studies Modern Language Association vi Introduction Film and Bataille’s Philosophy Why not consider the cinema from the point of view of a ‘philosophical’ spectator? D. N. Rodowick, Gilles Deleuze’s Time Machine The Delay of Bataille Georges Bataille (1897-1962) was a prolific figure: a philosopher, a novelist, an archivist at the Bibliothèque Nationale, a leader of dissident Surrealists who refused to associate with André Breton, and a political activist who participated in a number of important albeit short-lived organizations and secret societies during the 1930s in an effort to offset the rise of fascism in Western Europe. Thus, it should come as no surprise that his thought has left a lasting legacy in a number of diverse fields: philosophy, art history, literary criticism, political theory, anthropology, and psychoanalysis. Indeed, as some commentators note, Bataille’s texts frequently transgress disciplinary boundaries, thereby making it nearly impossible to situate this thinker in relation to one particular field. Julian Pefanis takes the marginal and unclassifiable status of Bataille’s thought as the determining reason for what he describes as “the delay of Bataille” in the Anglo-American academic disciplines: “How do we explain the delay of Bataille? Why, after the successive waves of French theory, starting with Sartrean existentialism, which have periodically been diffused through the English-speaking West, is it now (rather than twenty years ago as was the case for his reception in France), that Bataille finally emerges as one of the central figures in French thought?”1 As Pefanis notes, the sudden interest in Bataille among the English-speaking academics can be explained with reference to the publication of a (by now quite influential) collection of Bataille’s writings from the 1930’s, Visions of Excess (1985), in which the editor Allan Stoekl 1 Julian Pefanis, Heterology and the Postmodern: Bataille, Baudrillard, and Lyotard (Durham: Duke University Press, 1991), 41. 1 describes Bataille as an important precursor of post-structuralism. Stoekl’s nomination, in fact, points to another and, perhaps, most crucial reason for the sudden popularity of Bataille in Anglo-American academia, namely his relation to and effect on the key figures in contemporary French philosophy: “For quite a while now we have experienced the effect of Bataille’s thought in secondary literature without being able to specify its precise origins. It has been like the movement of a large dark body, maybe a black hole, whose presence in the heavens has been discernible in the erratic orbits of the visible planets.”2 The “visible planets” in question are, as Pefanis goes on to explain, Bataille’s more famous post-structuralist successors: Roland Barthes, Michel Foucault, Jacques Derrida, and Julia Kristeva. As these thinkers began to exert their influence within a number of fields—philosophy, comparative literature, art history, and anthropology—in the Anglo-American academic disciplines, the English-speaking scholars became increasingly aware of and interested in Bataille’s position in the history of modern French thought. While the aforementioned thinkers have certainly produced a lasting impact on the development of film studies, most Anglo-American film scholars continue to exhibit a marked lack of interest in Bataille’s work. While I am aware of a few film scholars (such as, most notably, Annette Michelson, Allen S. Weiss, Maureen Turim, Steven Shaviro and Akira Lippit) who occasionally refer to Bataille in their work, I have yet to encounter a single book-length study on Bataille and cinema published in English.3 My dissertation constitutes a systematic attempt to introduce Bataille's philosophical concepts into the field of film studies and to develop 2 Ibid., 42. 3 See Allen S. Weiss, “Between the Sign of the Scorpion and the Sign of the Cross: L’Âge d’or,” in Dada and Surrealist Film, ed. Rudolf E. Kuenzli (Cambridge, MA: MIT Press, 1987); Steven Shaviro, The Cinematic Body (Minneapolis: University of Minnesota Press, 1993); Maureen Turim, The Films of Oshima Nagisa: Images of a Japanese Iconoclast (Berkeley and Los Angeles: University of California
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