Ulteriori informazioni
Informationen zum Autor Bliss Cua Lim is Associate Professor of Film & Media Studies and Visual Studies at the University of California, Irvine. Klappentext Under modernity, time is regarded as linear and measurable by clocks and calendars. Despite the historicity of clock-time itself, the modern concept of time is considered universal and culturally neutral. What Walter Benjamin called "homogeneous, empty time" founds the modern notions of progress and a uniform global present in which the past and other forms of time consciousness are seen as superseded.In Translating Time, Bliss Cua Lim argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple "immiscible temporalities" that strain against the modern concept of homogeneous time. In this wide-ranging study-encompassing Asian American video (On Cannibalism), ghost films from the New Cinema movements of Hong Kong and the Philippines (Rouge, Itim, Haplos), Hollywood remakes of Asian horror films (Ju-on, The Grudge, A Tale of Two Sisters) and a Filipino horror film cycle on monstrous viscera suckers (Aswang)-Lim conceptualizes the fantastic as a form of temporal translation. The fantastic translates supernatural agency in secular terms while also exposing an untranslatable remainder, thereby undermining the fantasy of a singular national time and emphasizing shifting temporalities of transnational reception.Lim interweaves scholarship on visuality with postcolonial historiography. She draws on Henri Bergson's understanding of cinema as both implicated in homogeneous time and central to its critique, as well as on postcolonial thought linking the ideology of progress to imperialist expansion. At stake in this project are more ethical forms of understanding time that refuse to domesticate difference as anachronism. While supernaturalism is often disparaged as a vestige of primitive or superstitious thought, Lim suggests an alternative interpretation of the fantastic as a mode of resistance to the ascendancy of homogeneous time and a starting-point for more ethical temporal imaginings. Zusammenfassung Argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present! disclosing multiple 'immiscible' temporalities that strain against homogeneous time. Inhaltsverzeichnis List of Illustrations ix Acknowledgments xi Introduction. Clocks for Seeing: Cinema, the Fantastic, and the Critique of Homogeneous Time 1 1. Two Modes of Temporal Critique: Bergonism and Postcolonial Thought 43 2. The Fantastic as Temporal Translation: Aswang and Occult National Times 96 3. Spectral Time, Heterogeneous Space: The Ghost Film as Historical Allegory 149 4. The Ghostliness of Genre: Global Hollywood Remakes the "Asian Horror Film" 190 Epilogue. Writing within Time's Compass: From Epistemologies to Ontologies 245 Notes 253 Bibliography 305 Index 323...
