Abstract
In the period after the Second World War, one of the major paradigm shifts within critical theory of the twentieth century was to occur with the emergence of structuralism, which would mark a sharp break with theorizing of previous decades. The human subject, previously thought of as the point of origin for expression and meaning, or indeed the recipient of inspiration from a higher power, was theorized as an effect of a structure that was both linguistic and ideological. Born into language and interpellated, as Louis Althusser had it, through the machinations of ideology, the subject was decentred. In film theory, two traditions gathered momentum in the 1950s and were then highly influential until the 1970s in the United States and Europe (principally in France and Italy): one was inspired by Saussurean linguistics and epitomized by the work of Roland Barthes as well as that of Christian Metz; the other took its impetus from Peircean logic, and was exemplified by a lineage that runs from Umberto Eco and Pier Paolo Pasolini through to the work of Gilles Deleuze. Gradually within the post-war period, the rise of structuralism, semiotics, and semiology led to the eclipse of the soul per se from the mainstream of theoretical discourse, as figures such as Metz and Jean-Louis Baudry came to the fore, Screen theory burgeoned, and a wide range of the more ideologically motivated theories emerged on the tide of the world-wide revolutions of the post-1968 era.
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Notes
Maurice Merleau-Ponty, ‘Le Cinéma et la nouvelle psychologie’ [1945], in Sens et non-sens (Paris: Éditions Gallimard, 1996 [1966]), pp. 61–75. This article was originally presented as a lecture at the Institut des hautes études cinématographiques on 13 March 1945.
Gilbert Cohen-Séat, Essai sur les principes d’une philosophie du cinéma (Paris: Presses Universitaires de France, 1946) and
Étienne Souriau (ed.), L’Univers filmique (Paris: Flammarion, 1953).
‘Mais n’est-il pas frappant de constater que cette façon pour le réalisateur de nous mettre face à un événement humain considéré globalement, en s’abstenant de le morceler et de l’analyser […] n’est-il pas frappant de constater que cette méthode se rapproche étrangement de ce que les philosophes appellent description phénoménologique.’ Amédée Ayfre, ‘Néo-réalisme et phénoménologie’, Cahiers du cinéma, vol. 3, no. 17 (November 1952), pp. 6–18 (pp. 9–10).
‘Umberto Domenico Ferrari, autrefois un étranger, aujourd’hui, si je le veux, mon prochain.’ Amédée Ayfre, ‘Conversion aux images?’, in Conversion aux images? Les images et Dieu, les images et l’homme (Paris: Éditions du Cerf, 1964), pp. 7–16 (p. 14).
Bazin died of leukaemia on 11 November 1958 at the age of 40. Ayfre, born in 1922, was killed in a car accident in Switzerland on 22 July 1964. A theologian of the seventh art, he often signed himself Abbé (abbot) or p.s.s. (père/prêtre Saint-Sulpicien) (Father/Priest of Saint-Sulpice). Agel speaks fondly of Ayfre, whom he saw seldom and with whom he collaborated occasionally. See Agel, in Amédée Ayfre, Un cinéma spiritualiste, ed. René Prédal (Paris: Éditions du Cerf, 2004), pp. 5–12.
Francesco Casetti, Les Théories du cinéma depuis 1945 [1993], trans. Sophie Saffi (Paris: Nathan, 2000), p. 11.
See, for example, Agel, Le Prêtre à l’écran (Paris: Éditions Téqui, 1953),
Ayfre, Dieu au cinéma: problèmes esthétiques du film religieux (Paris: Presses Universitaires de France, 1953) and
Agel, Le Visage du Christ à l’écran (Paris: Desclée, 1985). Ayfre does, however, state in Dieu au cinéma that all films have some relation to religion: ‘In reality, all film, even if it is antireligious or irreligious, has a relation to religion, in the sense that it is open to religious interpretation.’ (‘A vrai dire tout film, même antireligieux, même areligieux, a un rapport avec la religion, en ce sens qu’il est susceptible d’une interprétation religieuse’ [ibid., p. 14]). And even when Agel treats works that lie in the order of the profane he is interested in what elevates them beyond this. In Un art de la célébration: le cinéma de Flaherty à Rouch (Paris: Éditions du Cerf, 1987), it is celebration that concerns him as a filmic mode that stretches beyond narrative and discourse and that connects, among other things, with liturgy.
‘Spiritualistes et matérialistes nous semblaient participer de la même erreur moderne, celle qui, à la suite d’un cartésianisme douteux, sépare arbitrairement le “corps” de l’“âme”, la pensée et l’action, l’homo faber et l’homo sapiens. Nous affirmions, pour nous: la crise est à la fois une crise économique et une crise spirituelle, une crise des structures et une crise de l’homme.’ Emmanuel Mounier, Qu’est-ce que le personnalisme? (Paris: Seuil, 1946), p. 14.
See John Hellman, Emmanuel Mounier and the New Catholic Left, 1930–1950 (Toronto: University of Toronto Press, 1981), especially pp. 249–59, for a study of Personalism’s fraught relationship to the political left and right.
J. Dudley Andrew, André Bazin [1978] (New York: Columbia University Press, 1990), p. 5 and p. 23.
Robert Bresson, Notes on Cinematography [1975], trans. Jonathan Griffin (New York: Urizen Books, 1977), p. 30.
Ayfre, in Henri Agel, Le Cinéma et le sacré (Paris: Éditions du Cerf, 1953), p. 111.
Peter Wollen, Signs and Meaning in the Cinema [1969] (London: BFI, 1997 revised and expanded edition), p. 106.
Pier Paolo Pasolini, ‘The “Cinema of Poetry”’ [1965], in Heretical Empiricism, trans. Ben Lawton and Louise K. Barnett (Washington, DC: New Academia Publishing, 2005), pp. 167–86.
See Warren Buckland, The Cognitive Semiotics of Film Theory (Cambridge: Cambridge University Press, 2000). As Buckland notes, Michel Colin and Dominique Chateau have been working with Noam Chomsky’s theories since the early 1970s to link linguistics to mental activity. See
Michel Colin, Langue, film, discours: prolégomènes à une semiologie généra-tive du film (Paris: Klincksieck, 1985) and
Dominique Chateau, Le Cinéma comme langage (Brussels: AISS-IASPA; Paris: Publications de la Sorbonne, 1987).
Morin, Les Stars [1957] (Paris: Seuil, 1972), p. 7. Although not referred to in Rachel Moore’s Savage Theory, Morin’s anthropological project in this and his film text under discussion here is similar in this respect to Moore’s.
Noël Burch, Praxis du cinéma (Paris: Éditions Gallimard, 1969). Translated as Theory of Film Practice (New York: Secker & Warburg, 1973).
Christian Metz, ‘The Cinema: Language or Language System’ [1964], in Film Language: A Semiotics of the Cinema, trans. Michael Taylor (Oxford: Oxford University Press, 1974), pp. 31–91.
Christian Metz, Psychoanalysis and Cinema: The Imaginary Signifier [1977], trans. Celia Britton, Annwyl Williams, Ben Brewster, and Alfred Guzzetti (London: Macmillan 1985 [1982]), p. 4. Abbreviated hereafter as The Imaginary Signifier.
Jean-Louis Comolli and Jean Narboni, ‘Cinema/Ideology/Criticism’ [1969], in Nick Browne (ed.), Cahiers du cinéma, 1969–1972: The Politics of Representation (Cambridge, MA: Harvard University Press, 1990), pp. 58–67.
Henri Agel, Métaphysique du cinéma (Paris: Éditions Payot, 1976), p. 21
See Agel, Le Visage du Christ à l’écran (Paris: Desclée, 1985), p. 8.
For example, Lacanian film theorist Todd McGowan privileges Lacan’s work on the objet a and his The Four Fundamental Concepts of Psychoanalysis: The Seminar of Jacques Lacan Book XI [1973], trans. Alan Sheridan and (ed.), Jacques-Alain Miller (New York: W. W. Norton & Company, 1981), rather than his article on the mirror stage, and the debt to a particular area of Lacanian psychoanalytic film theory has been broadened out. See Todd McGowan, The Real Gaze: Film Theory after Lacan (Albany: State University of New York Press, 2007).
Democritus cited in Julia Kristeva, ‘The Soul and the Image’, in New Maladies of the Soul (New York: Columbia University Press, 1995), pp. 3–26 (p. 3).
See Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, Screen, vol. 16, no. 3 (1975), pp. 6–18. See also The Sexual Subject: A Screen Reader in Sexuality (London: Routledge, 1992).
Frantz Fanon, Black Skin, White Masks [1952] (London: Pluto Press, 1986).
W. E. B. Dubois, The Souls of Black Folk [1903] (New York: Dover Press, 1994), p. 2.
Michael Haralambos, Soul Music: The Birth of a Sound in Black America (New York: Da Capo, 1974), p. 145.
Monique Guillory and Richard C. Green (eds), Soul: Black Power, Politics, and Pleasure (New York: New York University Press, 1998), p. 3.
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© 2013 Sarah Cooper
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Cooper, S. (2013). Signifying Souls. In: The Soul of Film Theory. Palgrave Macmillan, London. https://doi.org/10.1057/9781137328588_3
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