Christopher Pavsek - The Utopia of Film: Cinema and Its Futures in Godard, Kluge, and Tahimik

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THE UTOPIA OF FILM

FILM AND CULTURE

John Belton, Editor

FILM AND CULTURE

A Series of Columbia University Press

John Belton, Editor

What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic

Henry Jenkins

Showstoppers: Busby Berkeley and the Tradition of Spectacle

Martin Rubin

Projections of War: Hollywood, American Culture, and World War II

Thomas Doherty

Laughing Screaming: Modern Hollywood Horror and Comedy

William Paul

Laughing Hysterically: American Screen Comedy of the 1950s

Ed Sikov

Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema

Rey Chow

The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman

Susan M. White

Black Women as Cultural Readers

Jacqueline Bobo

Picturing Japaneseness: Monumental Style, National Identity, Japanese Film

Darrell William Davis

Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema

Rhona J. Berenstein

This Mad Masquerade: Stardom and Masculinity in the Jazz Age

Gaylyn Studlar

Sexual Politics and Narrative Film: Hollywood and Beyond

Robin Wood

The Sounds of Commerce: Marketing Popular Film Music

Jeff Smith

Orson Welles, Shakespeare, and Popular Culture

Michael Anderegg

Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 19301934

Thomas Doherty

Special Effects: Still in Search of Wonder

Michele Pierson

Designing Women: Cinema, Art Deco, and the Female Form

Lucy Fischer

Cold War, Cool Medium: Television, McCarthyism, and American Culture

Thomas Doherty

Katharine Hepburn: Star as Feminist

Andrew Britton

Silent Film Sound

Rick Altman

Home in Hollywood: The Imaginary Geography of Hollywood

Elisabeth Bronfen

Hollywood and the Culture Elite: How the Movies Became American

Peter Decherney

Taiwan Film Directors: A Treasure Island

Emilie Yueh-yu Yeh and Darrell William Davis

Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film

Adam Lowenstein

China on Screen: Cinema and Nation

Chris Berry and Mary Farquhar

The New European Cinema: Redrawing the Map

Rosalind Galt

George Gallup in Hollywood

Susan Ohmer

Electric Sounds: Technological Change and the Rise of Corporate Mass Media

Steve J. Wurtzler

The Impossible David Lynch

Todd McGowan

Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visibility

Rey Chow

Hitchcocks Romantic Irony

Richard Allen

Intelligence Work: The Politics of American Documentary

Jonathan Kahana

Eye of the Century: Film, Experience, Modernity

Francesco Casetti

Shivers Down Your Spine: Cinema, Museums, and the Immersive View

Alison Griffiths

Weimar Cinema: An Essential Guide to Classic Films of the Era

Noah Isenberg

African Film and Literature: Adapting Violence to the Screen

Lindiwe Dovey

Film, A Sound Art

Michel Chion

Film Studies: An Introduction

Ed Sikov

Hollywood Lighting from the Silent Era to Film Noir

Patrick Keating

Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine

Sam B. Girgus

Counter-Archive: Film, the Everyday, and Albert Kahns Archives de la Plante

Paula Amad

Indie: An American Film Culture

Michael Z. Newman

Pretty: Film and the Decorative Image

Rosalind Galt

Film and Stereotype: A Challenge for Cinema and Theory

Jrg Schweinitz

Chinese Womens Cinema: Transnational Contexts

Edited by Lingzhen Wang

Hideous Progeny: Disability, Eugenics, and Classic Horror Cinema

Angela M. Smith

Hollywoods Copyright Wars: From Edison to the Internet

Peter Decherney

Electric Dreamland: Amusement Parks, Movies, and American Modernity

Lauren Rabinovitz

Where Film Meets Philosophy: Godard, Resnais, and Experiments in Cinematic Thinking

Hunter Vaughan

CHRISTOPHER PAVSEK

THE UTOPIA

OF FILM

CINEMA AND ITS FUTURES

IN GODARD, KLUGE, AND TAHIMIK

COLUMBIA UNIVERSITY PRESS NEW YORK

Columbia University Press

Publishers Since 1893

New YorkChichester, West Sussex

cup.columbia.edu

Copyright 2013 Columbia University Press

All rights reserved

E-ISBN 978-0-231-53081-1

The author and Columbia University Press gratefully acknowledge the support of Simon Fraser University in the publication of this book.

Library of Congress Cataloging-in-Publication Data

Pavsek, Christopher, 1964

The utopia of film : cinema and its futures in Godard, Kluge, and Tahimik / Christopher Pavsek

pages cm. (Film and culture)

Includes bibliographical references and index.

ISBN 978-0-231-16098-8 (cloth : alk. paper) ISBN 978-0-231-16099-5 (pbk. : alk. paper) ISBN 978-0-231-53081-1 (ebook)

1. Motion picturesPhilos0phy. 2. Godard, Jean Luc, 1930 Criticism and interpretation. 3. Tahimik, KidlatCriticism and interpretation. 4. Kluge, Alexander, 1932 Criticism and interpretation. I. Title.

PN1995.P353 2013

791.4301dc23 2012037591

A Columbia University Press E-book.

CUP would be pleased to hear about your reading experience with this e-book at .

Cover design: Vin Dang

Cover images: JLG / JLG, a film by Jean-Luc Godard. Production Gaumont. 1995

An earlier version of chapter 1 appeared in Discourse 28.1 (Winter 2006): 16695.

References to Internet Web sites (URLs) were accurate at the time of writing. Neither the author nor Columbia University Press is responsible for URLs that may have expired or changed since the manuscript was prepared.

For Carolyn, Sophie, and Mia,
who smile the smile that dismisses the universe

Once a possibility, always a necessity!

Rick Roderick / C. Wright Mills

Contents

My first thanks must go, of course, to the teachers I have had over the years, and above all to Fredric Jameson, who remains for me a model of intellectual ambition, generosity, and joy. I know no one so truly Galilean, in the best Brechtian sense: he cannot resist a new thought, and he has encouraged those of us lucky enough to have studied with him to happily cultivate the same weakness in ourselves. And though its been a long time, I do wish to publicly thank my teachers at Cornell: David Bathrick, Susan Buck-Morss, Sander Gilman, and Biddy Martin, who still inhabit my thoughts. My teachers at Duke, Michael Hardt, Barbara Herrnstein-Smith, Toril Moi, Ellen Risholm, James Rolleston, and Ken Surin, were inspiringand tolerant, perhaps to a fault. When I list all these people here, I realize the good fortune I have had as a student. If I can ever live up to even a small fraction of the standard this amazing cast of teachers and intellectuals has set, I will be content with my own work.

At Simon Fraser University, Martin Gotfrit was an encouraging and understanding chair of the School for the Contemporary Arts at a crucial time. Colin Browne took on some of my duties so that I could finish this manuscript. Thank you. All of my colleagues at SFU, scholars and artists alike, have been extremely supportive of my work. I also need to thank Kidlat Tahimik and Kidlat de Guia for generously making films available to me and for answering many questions.

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