![]() RESUMEN El presente artículo pretende mostrar cómo la consolidación de la forma cinematográfica del film-ensayo en la obra de Jean-Luc Godard es consecuencia de la evolución de su experiencia en el cinéma militant. With the analysis of Letter to Jane this paper tries to demonstrate how the irruption of subjectivity in the revolutionary cinematic practice allows the appearance of self-reflexivity and the thinking process that define the cinematic essay. ![]() The defining elements of the group’s filmic experience –the supremacy of montage, the dialectics between images and sounds and the relevance of the spectator as an active part of a dialogical practice– are the same that bring about the essayistic form when the film is enunciated from the author’s subjectivity. This militant cinema emerges from the political and social circumstances that caused May 68 and in the case of the filmmaker is materialized through his participation in the Dziga Vertov Group. The present article aims to show how the consolidation of the cinematic form of the essay film in Jean-Luc Godard’s work is a consequence of the evolution of his experience in the cinéma militant. My argument is that what makes such an upset possible in commercial cinema is the subversion of the generic signal, specifically through unexpected characterization. Although Guattari avers “commercial cinema is undeniably…reactionary,” its very ability to populate the spectator’s unconscious with “invaders” makes it “possible for a film to upset our whole existence” (Soft Subversions 164). ![]() In my paper, I will focus on these recognizable film characterizations as the grounds for a philosophical analysis of genre cinema. Notably, Guattari names the characters that define popular genre films as examples of these subjective arrangements, such as “cowboys and Indians,” “cops and robbers,” detectives and (action) heroes. For Guattari, power circulates in the cinema by populating our unconscious with its “subjective arrangements”. Unlike Deleuze’s systematic taxonomies of the cinema, Guattari proposes another methodological approach to understanding the medium. My paper attempts to correct this oversight by engaging with Guattari’s writing and interviews, in which film plays a central role. I explore this potential through an engagement with Satoshi Kon’s 2006 anime, Paprika, a film which forcefully highlights cinema’s capacity to think desire as a machinic process of individuation and becoming.Īlthough film theory has been revitalized by the relatively recent work on the film philosophy of Gilles Deleuze, the writings of his frequent collaborator, Fèlix Guattari remains largely unexamined. At stake in Guattari’s thought, I claim, is a more transformative sense of cinema as a desiring-machine, generating asignifying intensities that disrupt existing forms of representational coding and open thinking to new collective arrangements of desire. The chapter thus highlights the stakes of Guattari’s philosophy for traditional understandings of a cinematic politics by tracing two key theoretical shifts: from a thought of the cinematic encounter as a structural repetition of the same (psychoanalysis) to the encounter as a machinic event of difference and from an interpretative politics of signification (linguistics) to an experimental micropolitics of asignifying forces. This chapter explores the role that cinema can play in the struggle for what Guattari calls a micropolitics of desire that creatively experiments with preindividual forces that exceed the conventional images we have of ourselves and of our relations to others. A central focus of Guattari’s engagement with politics in both his writing and activism was the problem of the liberation of desire from dominant regimes of signification.
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