Porous Boundaries: Texts and Images in Twentieth-Century French Culture (review)

Porous Boundaries: Texts and Images in Twentieth-Century French Culture (review) Book Reviews / 109 Jérôme Game, ed. Porous Boundaries: Texts and Images in TwentiethCentury French Culture. Oxford: Peter Lang, 2007. 164 pp. In this collection, editor Jérôme Game (who is both a scholar and a poet) gathers an impressive array of thinkers aiming to reconsider "the text/images dialectic" (12) roughly in the postmodern period ("after Surrealism" 20), and within the specific purview of not privileging the linguistic pole as is too often the case. While this agenda is not new (as Game himself recalls, citing W. J. T. Mitchell and Marie-Claire Ropars, 10), the collection purports to develop specific "conceptual tools and methods" so as "to further the establishment of an interdisciplinary field of study" (20). The two approaches Game favors are "interpenetration (hybridization)" and "mutual destructuring (heterogenization)." Both are inspired by a proposed shift away from Barthesian textuality toward a Deleuzean matrix of virtuality and becoming in which writing is but one flux of intensity among others. Game's introduction illustrates these notions by analyzing a single long take in a film by Jean Eustache in which language and image deterritorialize each other. The demonstration is perhaps less convincing here than that which Game provided in an excellent http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png French Forum University of Nebraska Press

Porous Boundaries: Texts and Images in Twentieth-Century French Culture (review)

French Forum, Volume 35 (1) – Jun 16, 2010

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University of Nebraska Press
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Copyright © University of Nebraska Press
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1534-1836
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Abstract

Book Reviews / 109 Jérôme Game, ed. Porous Boundaries: Texts and Images in TwentiethCentury French Culture. Oxford: Peter Lang, 2007. 164 pp. In this collection, editor Jérôme Game (who is both a scholar and a poet) gathers an impressive array of thinkers aiming to reconsider "the text/images dialectic" (12) roughly in the postmodern period ("after Surrealism" 20), and within the specific purview of not privileging the linguistic pole as is too often the case. While this agenda is not new (as Game himself recalls, citing W. J. T. Mitchell and Marie-Claire Ropars, 10), the collection purports to develop specific "conceptual tools and methods" so as "to further the establishment of an interdisciplinary field of study" (20). The two approaches Game favors are "interpenetration (hybridization)" and "mutual destructuring (heterogenization)." Both are inspired by a proposed shift away from Barthesian textuality toward a Deleuzean matrix of virtuality and becoming in which writing is but one flux of intensity among others. Game's introduction illustrates these notions by analyzing a single long take in a film by Jean Eustache in which language and image deterritorialize each other. The demonstration is perhaps less convincing here than that which Game provided in an excellent

Journal

French ForumUniversity of Nebraska Press

Published: Jun 16, 2010

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