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IMAGINING SELVES: the POLITICS of REPRESENTATION, FILM NARRATIVES and ADULT EDUCATION by ARISTIDES GAZETAS

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IMAGINING SELVES: the POLITICS of REPRESENTATION, FILM NARRATIVES and ADULT EDUCATION by ARISTIDES GAZETAS IMAGINING SELVES: THE POLITICS OF REPRESENTATION, FILM NARRATIVES AND ADULT EDUCATION by ARISTIDES GAZETAS B.A. in Art History, City College of New York, 1953 M.F.A. in Stage Design, Boston University, 1956 M.A. in Art Education, The University of British Columbia, 1992 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Department of Educational Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1997 © Aristides Gazetas, 1997 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date Oor- t+,(^7 DE-6 (2/88) ii Abstract In today's world of communication technology, film and television more than ever inform and persuade us about our world through a wealth of images. The purpose of this study is to explore "the various way that film narratives function to construct the social reality that constitutes the lived world of social actors" (Mumby, 1993:5). The thesis argues that film narratives and video productions are historical social/political artifacts incorporating important social and political issues through the use of ideology, rhetoric and genre in the "politics of representation." The study examines a number of theoretical positions proposed by adult educators in relation to five poststructural perspectives chosen for this research. The analysis begins with a Lacanian interpretation of subjectivity in the complexities of female bonding with the Other, then follows with Foucault's concepts of knowledge and power, Derrida's perspective on differance, Baudrillard's thesis on "simulacra" and closes with Lyotard's philosophy on the "postmodern condition." The study argues that objects of knowledge are locally and historically specific, and that they become available for human understanding only within certain "language games," "paradigms" and "discursive formations." Following the lead of these French thinkers, the study investigates the central role language plays in the process of socialization while questioning simultaneously, the ideological processes forming our subjectivities. Also the study challenges the foundational basis for historical knowledge and the existing state of cultural power, one that structures identities of Self and Other within societal forms of domination and exploitation. The research concludes with reasons why a postmodern position extends iii the imaginary spaces for cultural narratives and offers alternative models for adult education. These positions are "necessary illusions" grounded upon our understanding of cultural identities, and focus upon a new engagement of adult education through a "politics of difference." The thesis attempts to help adult learners comprehend their own cultural situation through an explicit understanding of how narrative discourses operate within the "politics of representation" on two levels: one, as a communication phenomenon that pedagogically and culturally constructs human identities through role-playing, and two, as a social phenomenon that both reinforces and challenges the social order. iv TABLE OF CONTENTS Page Abstract ii Acknowledgements vii CHAPTER ONE - INTRODUCTION TO THE RESEARCH 1 Framework for the Research 2 Assumptions of the Research 5 The Crises in Representation and the Politics of Difference 6 CHAPTER TWO - ILLUSIONS OF REALITY - PERSPECTIVES/THEORIES 10 Cinematization of Contemporary Life 10 A Psychological Theory on Cinematic Representation 12 The French New Wave and Jean-Luc Godard 15 Postmodern Condition and the Politics of Representation 20 Some Interpretations of Postmodernism 22 Filming as Thinking 26 The Research Question 29 CHAPTER THREE - RESEARCH METHODS AND PERSPECTIVES 32 Metaphors and Metonyms as Signs in Filmic Representation 33 Brechtian Techniques and Film Narratives 34 The Primary Data for the Research 37 Criteria for Selection of Film Narratives 39 Analytical Approach and Method 40 The Use of Collage Within the Poststructual Framework 41 Five Research Perspectives 43 Implications for Adult Education 50 Closing Remarks 59 CHAPTER FOUR - THE PSYCHOANALYTIC DISCOURSE - SELF/OTHER 61 Introduction to Lacanian Psychoanalysis, Surrealism and Semiotics 62 The Influence of Dada and Surrealism on Lacan 63 Jacques Lacan's Re-reading of the Freudian Unconscious 69 The Formation of the I - The Mirror Phase 73 V TABLE OF CONTENTS Lacan's Argument with Ego Psychologists 78 The Psychoanalytical Discourse and Women in Film 81 Interpretation of Fried Green Tomatoes 84 A Lacanian Reading of Fried Green Tomatoes 90 Implications for Adult Education 94 CHAPTER FIVE - THE IRONIC DISCOURSE - TECHNOLOGIES OF SELF 98 Introduction to Foucault: Historical Identity as a Cultural Effect 98 Michel Foucault: Nietszche, Genealogy, History 101 Cultural Identity and the New German Cinema 104 Regimes of Disciplinary Power - Szabo's Mephisto (1981) 110 A Foucauldian Reading of Mephisto - Power/Knowledge 118 Implications for Adult Education 120 CHAPTER SIX - THE PARODIC DISCOURSE - INVENTING THE SELF 126 Existentialism and The Theatre of the Absurd 126 Jacques Derrida on Deconstruction -- "Metaphysics of Presence" 130 Inventing the Self - Ashby's Being There (1979) 134 A Derridean Reading to Being There - Presence/Absence 138 Critical Pedagogy — Implications for Adult Education 141 CHAPTER SEVEN - THE FANTASTIC DISCOURSE - MYTHIC IMAGES 145 Levi-Strauss, Barthes and Baudrillard on Cultural Symbolism 145 Jean Baudrillard: The Age of Hyper-Reality and Simulations 151 Critical Adult Education and Film Narratives 153 Simulacra in Tarkovsky's Solaris (1972) - Illusion/Reality 155 Critical Reflection on Film Narratives as Life Histories 165 Implications for Adult Education 169 CHAPTER EIGHT - THE ROMANTIC DISCOURSE - LACKING IDENTITIES 172 Jean-Francois Lyotard: The Postmodern Condition 174 Systems Control and Cybernetics 176 Features of Postmodernism in Architecture, Art and Literature 178 The Politics of Postmodernism 182 vi TABLE OF CONTENTS The Risk Society in the Postmodern Era 184 Introduction to the Third Cinema - Fact/Fiction 188 Multiple Narratives in Angelopoulos' Landscape in the Mist (1988) 192 Implications for Adult Education 199 CHAPTER NINE - NECESSARY ILLUSIONS: IMAGINING SELVES 207 The Use of Myths in Film Narratives 214 Imagining Selves in Mythic Spaces 218 Play/ Imagination and the Third Space 220 Revisiting the Five Narrative Films 222 REFERENCES 232 Appendix A — Don Eddy's New Shoes for H. 241 vii Acknowledgements I would like to thank the members of my research committee, Tom Sork, Carl Leggo, Ted Aoki, and Elvi Whittaker, for their untiring patience and guidance in sharing with me different educational perspectives over the years. I am also very appreciative of their many insightful comments and constructive criticisms of my work as we worked together to bring this thesis to completion. Most important was their contribution of many important ideas and concepts through their individual classes that helped me understand the complexity of the "postmodern condition" and what I felt was important in understanding the multiple thematic frameworks they endorsed. I also would like to thank Kjell Rubenson, Roger Boshier and Dan Pratt for their invaluable contributions to my understanding of Adult Education as practiced at UBC. Special thanks goes to Jeannie Young and to a number of colleagues, Jennifer Warren, Kathleen Kennedy, Mark Bullen, and Marilyn Low among many more, with whom I shared moments of doubt, confusion, learning and inspiration. To my wife, Mary, our son Michael, and our daughters, Sophie and Calli, for their constant love, support and encouragement that helped me through this incredible educational adventure. 1 CHAPTER ONE INTRODUCTION TO THE RESEARCH As part of the 19th century industrial revolution, the technology of photography and its later development into motion pictures opened new frontiers for the study of modern culture. With the birth of the cinema, the early pioneers of motion pictures realized the power of this new technology. Film images not only gave spectators a subjective perceptual experience of viewing a "reality," but it also provided a film experience that gave meaning and expression to ways of seeing and interpreting a cultural discourse. When accompanied by written statements about historical events and personalities, motion pictures, as an art form, reconstructed the "actualities of lived experience." Slowly, motion pictures became a major commercial industry in the early 1900s as Edwin S. Porter and D. W. Griffith transformed them into dramatic film narratives. By 1915, following the nickelodeon age of growth and experimentation, full-length feature films as Birth of a Nation, directed by D. W. Griffith, received public and critical acclaim for their narrative power. Thus, a powerful historic reconstruction of the American Civil War was brought to "life" by the technology of motion pictures. The film also communicated a controversial political discourse
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