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By James Naremore

In 1895, Louis Lumière supposedly stated that cinema is "an invention and not using a future." James Naremore makes use of this mythical comment as a kick off point for a meditation at the so-called loss of life of cinema within the electronic age, and as a fashion of introducing a wide-ranging sequence of his essays on video clips prior and current. those essays comprise discussions of authorship, variation, and appearing; commentaries on Howard Hawks, Alfred Hitchcock, Orson Welles, Vincente Minnelli, John Huston, and Stanley Kubrick; and studies of newer paintings by means of non-Hollywood administrators Pedro Costa, Abbas Kiarostami, Raúl Ruiz, and Apichatpong Weerasethakul. very important subject matters recur: the family members among modernity, modernism, and postmodernism; the altering mediascape and dying of older applied sciences; and the necessity for strong severe writing in an period whilst print journalism is waning and the arts are devalued. The publication concludes with essays on 4 significant American movie critics: James Agee, Manny Farber, Andrew Sarris, and Jonathan Rosenbaum.

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87. 10 Levinas, Time and the Other, p. 88. 11 Levinas, Time and the Other, p. 88. 12 Emmanuel Levinas, Ethics and Infinity: Conversations with Philippe Nemo, translated by Richard A. Cohen (Pittsburgh, PA: Duquesne University Press, [1982] 1985), p. 66. M. Parshley (London: Everyman’s Library, [1949] 1993), p. xlv. 14 Levinas, Ethics and Infinity, p. 68. 15 See Richard A. Cohen, Elevations: The Height of the Good in Rosenzweig and Levinas (Chicago: University of Chicago Press, 1994), ch. 9. It would seem that Luce Irigaray mistakes Levinas’s deployment of these terms, as does Tina Chanter.

Since, then, he who wishes to drink ought to bring his mouth to the fountain, and since the Lord is himself this fountain . . ’73 ‘I am going away, and I am coming to you’74 (Trinitarian Excursus) The Levinasian account of the erotic relationship, of the ‘feminine’ other or depth that, in the body of the other, withdraws as one draws near – drawing near by withdrawing – strangely parallels the triune structure of God’s approach in Christ. For that also has the dynamic of drawing one into a mystery that withdraws even as it attracts, that attracts by withdrawing.

Then all that is left for me to do is to reverse my ignorance into truth. It is not true that the more you love, the better you understand; all that the action of love obtains from me is merely this wisdom: that the other is not to be known; his opacity is not the screen around a secret, but, instead, a kind of evidence in which the game of reality and appearance is done away with. 21 In the above quotation, Roland Barthes (1915–80) – a phenomenologist of sorts, here a phenomenologist of amorous yearning – finds, like Levinas, that to embrace the beloved is to embrace the unknown.

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