DOC PREVIEW
CU-Boulder FILM 3660 - Jameson & Cognitive Mapping
Type Lecture Note
Pages 7

This preview shows page 1-2 out of 7 pages.

Save
View full document
View full document
Premium Document
Do you want full access? Go Premium and unlock all 7 pages.
Access to all documents
Download any document
Ad free experience
View full document
Premium Document
Do you want full access? Go Premium and unlock all 7 pages.
Access to all documents
Download any document
Ad free experience
Premium Document
Do you want full access? Go Premium and unlock all 7 pages.
Access to all documents
Download any document
Ad free experience

Unformatted text preview:

FILM 3660 1nd Edition Lecture 6 Outline of Last Lecture - I. “Blade Runner” – Movie Reviewa. Laborb. Control vs. Freedomc. Finitude v. Obsolescenced. Timee. Cityscape & Housingf. The Humang. A Utopian MomentOutline of Current Lecture – I. Recitation Notes for Cognitive Mapping II. Other Jameson Notes Current Lecture:NOTE: This is an edited version of the professor’s outline with my personal notes in yellowQuestions for COGNITIVE MAPPING (45-54) Jameson, “The Cultural Logic of Late Capitalism”I. Moral Judgments vs. Genuine Dialectical ThinkingWhy is important for Jameson that the postmodern NOT understood as “one (optional) style among many,” but rather as “the cultural dominant” of our times? [Students may wish to relate the term dominant to such related terms as periodization, totality, and hegemonic norm. (5-6)]There is something about the postmodern that you cannot ignore because it is over where. It is not going away and global capitalism is inescapable- the art form doesn’t come out of this but These notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.instead is forced by it- it is a postmodern condition not a postmodern choice? This is not a western modern or central condition because it reaches everywhere.Is this true?NO! There is no “nature” or outside that we can escape to. Yes we have wilderness spaces but everything is zoned – state parks etc.….so is this on a scale? It is never completely escapable but there is a scale, certain art forms help us escape a little more…see question 2. 1. Correlatively, why is moral judgment (even moral cont) a mistaken response to the postmodern, especially when the latter is considered – again, mistakenly in Jameson’s opinion – to be just one style among others? Why and how does moral judgment perpetuate the illusion of critical distance? The idea that if what Jamison says is true (it is a spectrum but ultimately inescapable) he holds onto even in the less effective areas we cannot get distance. Because there is no distance we cannot see outside of the postmodern and we cannot see what it is. How can we possibly respondto it? What do we need to escape?... This is a very negative place to be in so how can we redirect or get out of it. See question 3….3. We need, says Jameson, “a genuine dialectical attempt to think the present of time in History.” (46) He develops what such a form of thinking is, with a reference to The Communist Manifesto: “The topic of [Marx’s] lesson is, of course, the historical development of capitalism itself and the deployment of a specific bourgeois culture. In a well-known passage Marx powerfully urges us to do the impossible, namely, to think this development positively and negatively all at once; to achieve, in other words, a type of thinking that would be capable of grasping the demonstrably baleful features of capitalism along with its extraordinary and liberating dynamism simultaneously within a single thought, and without attenuating any of the force ofeither judgment. We are somehow to lift our minds to a point at which it is possible to understand that capitalism is at one and the same time the best thing that has ever happenedto the human race, and the worst.” (47)He has spent much of his article detailing some of the negative “baleful” attributes of the postmodern. Does he offer – as he must, thinking as a Marxist – a possible positive vision less of the postmodern itself than as stemming from the postmodern? See page fifty, first full paragraph. What is a dialectical approach? Instead of looking at society as good or bad we have to lift our minds so we can see positive and negative at the same time – How do positive elements come about? POST MODERN ART.II. The (Semi)autonomy of Art vs. The Abolition of (Critical; Aesthetic) DistanceJameson suggests that, in our era of multinational (global) capitalism, the social function of the work of art has undergone a “momentous modification.” (48) Previously, art was “semi-autonomous”: a social artifact that was both a moment of a greater historical context, but also sufficiently distant from that context – sufficiently distant enough not only to evaluate and criticize it, but to also offer a Utopian alternative. Has culture disappeared for Jameson – or has it undergone at kind of “explosion” (48)? If it has undergone an explosion, what has happened to its semi-autonomy (its “aesthetic distance”)? Howfar reaching has this explosion proven to be? Put differently, are there pockets of emptiness or absence anywhere on the globe that might escape this proliferation (expansion, penetration, colonization) of culture? What, in addition to art, are the “other” spaces that were once “precapitalist enclaves,” but find themselves today beholden the logic of late capital? Autonomous art is independent and on its own – outside of society. But art is no longer outside ofthe system. The comparison of art between society and culture, we use to think culture and society are separate but really they are one now. This is due to an explosion of the combination, art falls apart because the interweaving of society and culture due to global capitalism, consumerism, over production of goods ect… we cannot take a critical distance. SO WE MUST CREATE ART THAT CAN GIVE US DISTANCE – Big hotel and cognitive mapping, see question 7III. The Culture of the Simulacrum – Pseudo-events (46)5. If distance – critical and aesthetic, not to mention the private – has been abolished, what exactly is saturating our consciousness? Jameson and others call it the simulacrum. What does this concept mean (or, alternatively, can its meaning be gleaned from the following passages)? p. 46: “And no doubt the logic of the simulacrum, with its transformation of older realities into television images, does more than merely replicate the logic of capitalism: it reinforces and intensifies it. Meanwhile for political groups which seek actively to intervene in history and to modify its otherwise passive momentum…there cannot but be much that is deplorable and reprehensible in a cultural form of image addiction which, by transforming the past into visual mirages, stereotypes, or texts, effectively abolishes any practical sense of the future and of the collective project…” p. 48: The explosion of


View Full Document

CU-Boulder FILM 3660 - Jameson & Cognitive Mapping

Type: Lecture Note
Pages: 7
Download Jameson & Cognitive Mapping
Our administrator received your request to download this document. We will send you the file to your email shortly.
Loading Unlocking...
Login

Join to view Jameson & Cognitive Mapping and access 3M+ class-specific study document.

or
We will never post anything without your permission.
Don't have an account?
Sign Up

Join to view Jameson & Cognitive Mapping 2 2 and access 3M+ class-specific study document.

or

By creating an account you agree to our Privacy Policy and Terms Of Use

Already a member?