By Daniele Rugo
Daniele Rugo explains how Jean-Luc Nancy and Stanley Cavell's dating with movie calls for the surrendering of philosophical mastery, and that it truly is accurately this act in view of the area that brings Cavell and Nancy to the research of film.
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Extra info for Philosophy and the Patience of Film in Cavell and Nancy
The movement of everyday objects propelled into uselessness by the double exposures and rayographs in Emak-Bakia (1926) or the hot plate and family pictures of Frampton’s Nostalgia (1971) do not deny this relation; if anything they investigate its least visible possibilities. TAKING THINGS TO HEART 11 melancholy. His distractions were a dinner, a game of backgammon and a conversation with friends, after which philosophical matters seemed ‘so cold, and strained and ridiculous’ (1985: 316) that he felt he could not find his heart.
They almost come to define what cinema gives us: Bogart’s prowess with cigarettes and his having to be taught how to whistle, Bacall’s handing out an empty glove in place of her hand, a blanket becoming an insurmountable wall, a faulty door triggering a moment of erotic recognition. On film ordinary gestures become signatures. Film’s insistence on the ordinary shows its ability to transform the most ordinary situations into something out of the ordinary, teaching us ‘how different different things are from one another’ (WV: 19).
This seeing is itself dependent on the understanding of the world as a set of objects and on a further step made by traditional epistemology. Not only the world is a container, but in its investigations traditional epistemology turns the world itself into an object among others. What is scrutinized by vision is therefore not only an object within the world, but the world itself as an object. By investigating an object as standing for the world, what the epistemologist demands to see is the world itself.