â¢ Camera Obscura modernity in part as a loss of faith in master narratives, utopian teleologies of history; yet within this conceptualization, the consciousness of the loss of history can itself be an historical form of consciousness.1 If the post of postmodernity marks a rupture with modernity, a historical break or coupure, then this distance might at least allow us to be able to understand and represent the past from a secure vantage point. But if this post is no simple break and does not imply chronological succession or even distance, then postmodernity cannot offer a position from which to represent modernity and provides little epistemological leverage. Rather than being a loss of history or a speciï¬c position in history, this postmodernity, as Fredric Jameson suggests, names a difï¬culty in locating ourselves with respect to history. After all, the nostalgic cinematic mode retro, an approach to âthe âpastâ through stylistic connotation, conveying âpastnessâ by the glossy qualities of the image,â and the tendency toward pastiche â a jumble of historical styles that Jameson identiï¬es as central for the postmodern aesthetic â seem to suggest as much.2 If, however, we were to understand this postmodern historical consciousness as itself
Camera Obscura – Duke University Press
Published: Jan 1, 2004
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