SPEP Plenary Address: Take Back the Camera: Race and Agonism in Mr. Deeds and The Fits

Journal of Speculative Philosophy 36 (2):105-130 (2022)
  Copy   BIBTEX

Abstract

ABSTRACT In Frank Capra’s Mr. Deeds Goes to Town, Stanley Cavell says, the film camera, a “somatogram,” reads fits and fidgets as a post-Cartesian cogito of embodied thinking. Giorgio Agamben sees the cameras of motion studies at Salpêtrière in the 1880s as dehumanizing normalizers of gesture, but Georges Didi-Huberman claims that what they recorded as hysteria was solicited by them and sometimes refused. Which is it? Does the camera humanize, normalize, or solicit gesture? I consider the question with Anna Rose Holmer’s The Fits. Like Mr. Deeds, The Fits foregrounds non-sovereign body movements, but its protagonist, Toni, agonistically engages the camera’s gaze, extracting from it the respect she deserves. I argue that Toni may be seen as responding to Salpêtrière, and also to Thomas Eakins, in whose attic, in the 1880s, a young Black girl was photographed naked, on a couch. Is her stare a refusal of the white gaze or a coerced pose? Toni’s own stare suggests she avenges such historic wrongs in acts of cinematic agonism. In The Fits, the camera that might have been Toni’s reader/partner, betrayer, or groomer becomes a mystical mechanism of remediation and Toni, the ghost in its machine.

Other Versions

No versions found

Links

PhilArchive



    Upload a copy of this work     Papers currently archived: 97,060

External links

Setup an account with your affiliations in order to access resources via your University's proxy server

Through your library

Analytics

Added to PP
2022-07-24

Downloads
19 (#924,209)

6 months
13 (#404,920)

Historical graph of downloads
How can I increase my downloads?

Author's Profile

Citations of this work

No citations found.

Add more citations