From 1968 to 1991 the acclaimed film theorist Christian Metz wrote several remarkable books on film theory. These books set the agenda of academic film studies during its formative period. Metz's ideas were taken up, digested, refined, reinterpreted, criticized and sometimes dismissed, but rarely ignored. This volume collects and translates into English a series of interviews with Metz, who offers readable summaries, elaborations, and explanations of his sometimes complex and demanding theories of film. We also discover (...) the contents of his unpublished manuscript on jokes, his relation to Roland Barthes, and the social networks operative in the French intellectual community during the 1970s and 1980s."--Back cover. (shrink)

A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinema: langue ou langage?'"--Geoffrey Nowell-Smith, Times Literary Supplement "Modern film theory begins with Metz."--Constance Penley, coeditor of Camera Obscura "Any consideration of semiology in relation to the particular field signifying practice of film passes (...) inevitably through a reference to the work of Christian Metz. . . . The first book to be written in this field, [ Film Language ] is important not merely because of this primacy but also because of the issues it raises . . . issues that have become crucial to the contemporary argument."--Stephen Heath, Screen. (shrink)

Trucage then exists when there is deceit. We may agree to use this term when the spectator ascribes to the diegesis the totality of the visual elements furnished him. In films of the fantastic, the impression of unreality is convincing only if the public has the feeling of partaking, not of some plausible illustration of a process obeying a nonhuman logic, but of a series of disquieting or "impossible" events which nevertheless unfold before him in the guise of eventlike appearances. (...) In the opposite case, the spectator undertakes a type of spontaneous sorting out of the visible material of which the filmic text is composed and ascribes only a portion of it to the diegesis. The services of the department of agriculture have worked more quickly because they were approached in an appropriate manner: this amounts to the diegesis. The film makes light of this sudden rapidity; ironically, it exaggerates it: here is the intention, which amounts to the enunciation. In the exact degree to which this perceptible bifurcation is maintained, the connotated will be unable to pass for denotated, and there is no trucage. The optical effect has not merged with the usual game of the photograms, the entire visual material has not been mistaken for the photographic, the diegetization has not been total. Christian Metz, one of the foremost French theorists of the cinema, is the author of Essais sur le signification au cinéma, Propositions méthodologiques pour l'analyse du film, and Langage et cinéma. He is Sous-Directeur d'Etudes Suppléant à l'Ecole Pratique des Hautes Etudes, Paris. This is the first English translation of "Trucage et cinéma," which appeared in Essais sur la signification au cinéma . Francoise Meltzer [the translator of this essay] is a professor of French literature and of comparative literature at the University of Chicago. She is the author of The Trial of Psychoanalysis, Salome and the Dance of Writing, and Hot Property: The Stakes and Claims of Literary Originality. Her essay, "Color as Cognition in Symbolist Verse," is published in Critical Inquiry in the Winter 1978 issue. (shrink)

Given a 21st century context of sophisticated market economies and other Western influences such as Christianity, what similarities and differences are there between characteristic indigenous values of sub-Saharan Africa and China, and how do they continue to influence everyday life in these societies? Establishing that central to both non-Western, indigenous value systems are ideals of harmonious relationships, I compare and contrast traditional African and Chinese conceptions of harmony and analyze a number of respects in which an appeal to this value (...) affects contemporary political, economic and social interaction. (shrink)

Our aims are to articulate some core philosophical positions characteristic of Traditional African Religion and to argue that they merit consideration as monotheist rivals to standard interpretations of the Judeo-Christian-Islamic tradition. In particular, we address the topics of how God’s nature is conceived, how God’s will is meant to bear on human decision making, where one continues to exist upon the death of one’s body, and how long one is able to exist without a body. For each of these (...) topics, we note how Traditional African Religion posits claims that clash with mainstream Judaism, Christianity, and Islam and that, being prima facie plausible, indicate the need for systematic cross-cultural philosophical debate. (shrink)

I consider the implications of two globally influential love-centred value systems for how to respond to painful memories that are a consequence of large-scale social conflict. More specifically, I articulate a moral-philosophical interpretation of the sub-Saharan worldview of ubuntu, and consider what it entails for responding to such trauma. According to this ethic, one should strive to become a real person, which one can do insofar as one honours those capable of communal (or broadly loving) relationships, ones of identity and (...) solidarity with others. I compare the implications of this ubuntu ethic with those of prominent Christian principles such as the golden rule and the commandment to love one's neighbour, noting some similarities between them, but emphasizing differences. Salient topics addressed are reconciliation with others, reconciliation to one's situation, punishment and forgiveness. (shrink)

In contemporary Anglo-American philosophy, there has been substantial debate between religious and secular theorists about what would make life meaningful, with a large majority of the religious philosophers having drawn on Christianity. In this article, in contrast, I draw on Judaism, with the aims of articulating characteristically Jewish approaches to life's meaning, which is a kind of intellectual history, and of providing some support for them relative to familiar Christian and Islamic approaches (salient in the Tanakh, the New Testament, (...) and the Qur’an), which is more philosophical. Sometimes I point out that dominant views in contemporary philosophy favor a Jewish approach to meaning relative to rivals, e.g., insofar as Judaism contends that a merely earthly life can be meaningful. Other times I suggest that Judaism provides reason to doubt dominant views in recent analytic philosophy, e.g., to the extent that the former posits a people, not merely a person, as a bearer of meaning. (shrink)

Part of the Elements Philosophy of Religion series, this short book focuses on the spiritual dimensions of life’s meaning as they have been discussed in the recent English and mainly analytic philosophical literature. The overarching philosophical question that this literature has addressed is about the extent to which, and respects in which, spiritual realities such as God or a soul would confer meaning on our lives. There have been four broad answers to the question, namely: God or a soul is (...) necessary for meaning in our lives; they are not necessary for it; one or both would enhance the meaning in our lives; and they would detract from it. These views have been largely advanced in chronological order through the history of Western philosophy, with the view that life would be meaningless without God and a soul having been most prominent in the medieval period, the rejection of this claim having arisen in the modern era, and then sophisticated positions about enhancement or reduction having appeared in earnest only in the past 20 years. This book addresses all four positions, paying particular attention to the more recent views. Beyond familiarizing readers with these positions, it presents prima facie objections to them, points out gaps in research agendas, and suggests argumentative strategies that merit development. (shrink)

The Abrahamic faiths of Christianity, Judaism, and Islam are typically recognized as the world’s major monotheistic religions. However, African Traditional Religion is, despite often including lesser spirits and gods, a monotheistic religion with numerous adherents in sub-Saharan Africa; it includes the idea of a single most powerful God responsible for the creation and sustenance of everything else. This Element focuses on drawing attention to this major world religion that has been much neglected by scholars around the globe, particularly those working (...) in the West or Northern Hemisphere. It accomplishes this primarily by bringing it into conversation with topics in the Anglo-American philosophy of religion. (shrink)

Pharmaceutical memory modification is the use of a drug to dampen, or eliminate completely, memories of traumatic experience. While standard therapeutic treatments, even those including intense pharmaceuticals, can potentially offer individual biomedical healing, they are missing an essential perspective offered by Christian bioethics: re/incorporation of individuals and traumatic memories into communities that confront and reinterpret suffering. This paper is specifically grounded in Christian ethics, engaging womanist understandings of Incarnational, embodied personhood, and Johann Baptist Metz’s “dangerous memory.” It (...) develops an ethical framework of Christian “enfleshed counter-memory” that responds to the specific challenge of pharmaceutical memory modification, and traumatic experience generally. (shrink)

Reflecting on the fact of pluralism and the extent to which Christianity appeared to be fragmenting in the wake of the Second Vatican Council , the French Jesuit Michel de Certeau wrote that “in the past, everything that was not in agreement with the teaching of the magisterium was classed as ‘ignorance,’ ‘superstition,’ or even as ‘heresy.’ This state of absolute certainty is now wavering. An unknown world stands before us, which calls itself Christian and yet is quite unlike (...) our picture of what Christian is: ‘another country,’ one that is huge and many-sided beneath the forms of expression (whether…. (shrink)

The primary subject of this study is the assessment ofJohann B. Metz’s judgment that Karl Rahner’s transcendental anthropology abstracts from concrete experience and succumbs to a kind of Idealist tautology. Secondarily consideration is given to the broader range of similar criticisms of Rahner’s construal of the God-human relation.

Long considered "the noblest of the senses," vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance. Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications (...) in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes's writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty. His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of "scopic regimes." Certain to generate controversy and discussion throughout the humanities and social sciences, _Downcast Eyes_ will consolidate Jay's reputation as one of today's premier cultural and intellectual historians. (shrink)

_Film Worlds_ unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and "storyworlds" on (...) account of cinema's perceptual, cognitive, and affective nature, film worlds are theorized as immersive and transformative artistic realities. As such, they are capable of fostering novel ways of seeing, feeling, and understanding experience. Engaging with the writings of Jean Mitry, Pier Paolo Pasolini, Christian Metz, David Bordwell, Gilles Deleuze, and Hans-Georg Gadamer, among other thinkers, _Film Worlds_ extends Nelson Goodman's analytic account of symbolic and artistic "worldmaking" to cinema, expands on French philosopher Mikel Dufrenne's phenomenology of aesthetic experience in relation to films and their worlds, and addresses the hermeneutic dimensions of cinematic art. It emphasizes what both celluloid and digital filmmaking and viewing share with the creation and experience of all art, while at the same time recognizing what is unique to the moving image in aesthetic terms. The resulting framework reconciles central aspects of realist and formalist/neo-formalist positions in film theory while also moving beyond them and seeks to open new avenues of exploration in film studies and the philosophy of film. (shrink)

This article presents a dialogue between Roland Barthes and Paolo Fabbri, which took place on 18 December 1965 in Florence, Italy. Barthes offers an engaging account of his structuralist approach to narrative, as was later published in essay form, ‘Introduction to the Structural Analysis of Narrative’, included in a special issue of Communications (Issue 8, 1966). In a cordial exchange with Fabbri, Barthes provides a more candid presentation of method than found in print, along with critical reflection of the underlying (...) importance of the structuralist approach, as perceived at the time. The interview took place as part of a small conference on narrativity. Participants included Algirdas Julien Greimas, Claude Bremond, Umberto Eco, Jules Gritti, Violette Morin, Christian Metz, and Tzvetan Todorov. Subsequently, a number of these participants contributed articles to the same issue of Communications, on the structural analysis of narrative. (shrink)

Analysing film. Distinguishing the filmic contribution to meaning -- Examples of filmic "textual organisation" -- Redrawing boundaries -- Organisation of the book -- Semiotics and documents. Semiotics and its relations to film -- The nature of discourse semantics -- The film as cinematographic document -- A combined view: filmic documents for filmic discourse -- Constructing the semiotic mode of film. Semiotic multimodality -- The internal organisation of semiotic strata -- Composing and combining semiotic modes -- Materiality and "epistemological commitment" -- (...) Christian Metz and the grande syntagmatique of the image track. The original model -- Two examples of analysis with the grande syntagmatique -- Revisions and rebuttals -- Foundations for analysis: filmic units. The basic units of film: preliminaries -- Audiovisual iconic representations -- Perception, perceptual realism and reliable measurement -- Multiplicity: from perception to discourse -- Filmic units revisited: discourse-motivated definitions -- The paradigmatic organisation of film. Beyond Metz: towards a grande paradigmatique -- Capturing discourse dependency structures in film -- The paradigmatic dimensions of projection, taxis and plane -- Two examples of paradigmatic analysis -- Summary and conclusions. (shrink)

The Philosopher and the Moviemaker.Merleau-Ponty and the Thinking of CinemaAs its subtitle indicates, the present article is devoted to the relations between Maurice Merleau-Ponty’s philosophy and the thinking of cinema. The first section focuses on two topics, each underlying the lecture on cinema given by Merleau-Ponty in 1945. On the one hand, we find the reflection about the peculiarities of expression in film and cinematic image; on the other, we see the convergence between the inspiration of cinema and that of (...) philosophy, which Merleau-Ponty sees as a significant characteristic of his time. This is a convergence in which the nouvelle vague’s cinema will recognise itself and which Christian Metz will retrospectively confirm. Moreover, by developing both of these topics, the author finds a way to interpret Merleau-Ponty’s lecture as an undeclared polemical response to Henri Bergson’s famous negative judgement on cinema. The second section focuses on the question of movement in cinema, putting together further references to cinema made by Merleau-Ponty in posthumous or unpublished writings such as the notes for the 1952-53 course on “The Sensible World and the World of Expression.” The third section focuses on Merleau-Ponty’s later reflection about vision and images. This section shows how the peculiar noveltyof cinema is more and more understood by Merleau-Ponty not only as historically convergent with a new way of conceiving philosophy, but as a symptom of the new ontology he was trying to formulate philosophically.Il filosofo e il cineasta.Merleau-Ponty e il pensiero del cinemaCome sottolinea il suo sottotitolo, il presente articolo è dedicato alle relazioni fra la filosofi a di Maurice Merleau-Ponty e il pensiero del cinema. La prima sezione si concentra su due argomenti, ognuno ravvisabile nella conferenza sul cinema tenuta da Merleau-Ponty nel 1945. Da una parte, troviamo la riflessione sulle peculiarità dell’espressione filmica e dell’immagine cinematografica; dall’altra, la convergenza fra l’ispirazione del cinema e quella della filosofia, che Merleau-Ponty vede come una significativa caratteristica del proprio tempo: una convergenza in cui il cinema della nouvelle vague riconoscerà se stesso e che Christian Metz retrospettivamente confermerà. Inoltre, sviluppando entrambi gli argomenti, l’autore trova modo di interpretare la conferenza di Merleau-Ponty come una non dichiarata risposta polemica al celebre giudizio negativo sul cinema formulato da Henri Bergson. La seconda sezione si concentra sulla questione del movimento nel cinema, riunendo ulteriori riferimenti di Merleau-Ponty al cinema in scritti postumi o inediti, come le note per il corso del 1952-1953 su “Il mondo sensibile e il mondo dell’espressione”. La terza sezione si concentra sulla riflessione dell’ultimo Merleau-Ponty sulla visione e le immagini. Ciò mostra come la peculiare novità del cinema sia sempre più compresa da Merleau-Ponty non solo come storicamente convergente con un nuovo modo di concepire la filosofia, ma come un sintomo della nuova ontologia che egli stava cercando di formulare filosoficamente. (shrink)