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The Cinematic Network Society: Ethical Confrontations with New Proximities to Human Suffering in the Information Age

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The Cinematic Network Society: Ethical Confrontations with New Proximities to Human Suffering in the Information Age The Cinematic Network Society: Ethical Confrontations with New Proximities to Human Suffering in the Information Age By Neil Narine B.A. (Honours), University of Victoria (2000) M.A., McGill University (2002) Dissertation submitted in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY In the School of Communication © Neil Anil Martin Narine 2010 SIMON FRASER UNIVERSITY Summer 2010 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL NAME Neil Anil Martin Narine DEGREE PhD TITLE OF DISSERTATION: The Cinematic Network Society: Ethical Confrontations with New Proximities to Human Suffering in the Information Age EXAMINING COMMITTEE: CHAIR: Adam Holbrook, Adjunct Professor Dr. Gary McCarron Associate Professor School of Communication Dr. Shane Gunster Associate Professor School of Communication Dr. Andrew Feenberg Professor School of Communication Dr. Martin Laba Associate Professor School of Communication Dr. Douglas Kellner Professor Graduate School of Education & Information Studies UCLA, Los Angeles, CA DATE: April 30,2010 ii Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author’s written permission. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. While licensing SFU to permit the above uses, the author retains copyright in the thesis, project or extended essays, including the right to change the work for subsequent purposes, including editing and publishing the work in whole or in part, and licensing other parties, as the author may desire. The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Simon Fraser University Library Burnaby, BC, Canada Last revision: Spring 09 Abstract This dissertation examines the global “network society” as a social formation with ethical implications for Western subjectivity by scrutinizing how twenty first century “global network” cinema maps the network’s democratizing and exploitative possibilities. Popular discourses have long provided a terrain in which new social and geographical proximities to the other, and new ethical responsibilities, can be negotiated as changing material conditions transform everyday life. Theoretically, this study draws upon Lacan’s notion of the symbolic order, Jameson’s notion of the imaginary social totality, and Foucault’s arguably incompatible concept of the dispositif or “apparatus” of discourses that render the social order intelligible and modes of conduct acceptable. Cinematic depictions of the network society represent efforts to signify (symbolizations); they present viewers with the rough parameters of intangible relations (cognitive maps); and their stars’ off-screen humanitarian pursuits and on-screen responses to human suffering envision idealized ethical modes of conduct (self-government). More than promoting celebrity adoration or ideological allegiance, these films depict their central agents experiencing mastery (plenitude) as well as impotence (lack) in the midst of the complex networks they inhabit. Methodologically, this thesis draws upon semiological and discursive analyses of twelve post-2000 global network films; celebrity humanitarian discourses; promotional-critical discourses accompanying the reception of each film; and fieldwork at film festivals and panels in North America and the UK. The emerging “cinematic network society” these films signify in fact comprises off-screen linkages between the filmmakers, advocacy groups, and the invisible sites of trauma these interests aim to publicize. But even this liberal Hollywood movement envisions the practice of global citizenship in somewhat conservative terms: as a series of ethical private responses to suffering that are continuous with the neoliberal project. This contradiction is central to wider political negotiations of new ethical relations with the other in an age when everyone is connected. KEYWORDS: network society; Hollywood film; cognitive mapping; historical trauma; globalization; ethics; neoliberalism; Foucault; Lacan iii Table of Contents The Cinematic Network Society: Ethical Confrontations with New Proximities to Human Suffering in the Information Age.....................i Approval............................................................................................................... ii Abstract............................................................................................................... iii Table of Contents............................................................................................... iv Index of Figures ................................................................................................ vii Index of Tables .................................................................................................... x Acknowledgements ........................................................................................... xi Introduction ......................................................................................................... 1 Mapping Our Cinematic Lives............................................................................ 6 The Purpose of this Study.................................................................................. 9 Organization of this Study................................................................................ 16 Chapter 1 Global Network Films as Symbolic Apparatuses ......................... 27 The Role of Cinema ......................................................................................... 29 Delineating the Sample.................................................................................... 33 Documentary.................................................................................................... 33 Television......................................................................................................... 36 Delimiting the Corpus....................................................................................... 38 Theoretical Orientation..................................................................................... 56 Cinema and the Symbolic Order (Lacan) ..................................................... 56 Mapping the Social Totality (Jameson) ........................................................ 62 From Cognitive Mapping to the Cinematic Dispositif (Foucault)................... 64 Chapter 2 Historical Background: Cinema and Social Issues...................... 69 Cinema, Emotion, and Citizenship................................................................... 69 Early Cinema and Citizenship.......................................................................... 71 Genres: Expressions of Individual Consciousness and Historical Concerns ....................................................................................... 79 American Cinema and Cultural Value .......................................................... 86 Chapter 3 Social Cinema Traditions and Historical Trauma......................... 91 The Social Problem Film.................................................................................. 93 The Economic Guilt Film.................................................................................. 97 Economic Guilt and Vengeance ................................................................. 102 Steven Spielberg and Economic Guilt........................................................ 105 The City Film.................................................................................................. 112 The Eco-Trauma Film .................................................................................... 121 The Contagion-Carrier Film ........................................................................... 128 Twenty-first Century Cinema and the “Idea of Others” .................................. 133 iv Chapter 4 Global Networks and Circulating Guilt........................................ 137 Traffic (2000): Drug Cartels, Fluid
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