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Flat Affect & Différance

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by

Josh Mcloughlin

on 25 November 2014

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Transcript of Flat Affect & Différance

David Siegel,
The Deep End
(2001),
-
Re-cap ideas of Affect and Flat Affect, in particular Laurent Berlant

- 'Cinematic Language' and Affect

- Derrida: Différance & Supplement

- The Deep End &
Melodramatic Affect

Overview
My thesis:
I want to suggest that the relationship between affects and the body in cinema is structured by difference, distance and deferral.

Through a reading of Tilda Swinton's 'flat affect', I will suggest the body which apparently is the site of affect is, in cinema, distant from those affects which are said to locate its presence.

'Cinematic language' registers affects outside of the body, but which are also said to constitute the evidence for that body's immediacy

If the body is subject to this distance from itself, that which Derrida calls différance, then it is always-already subject to signification, is always-already written and symbolised. This then refutes the notion of the body as the unwritte, natural foundation upon which gender 'happens'.
The Deferred Body:
Flat Affect, Cinema & Différance:
Full transcript