Abstract
Jonathan Beller, with his cinematic mode of production, calls for the possibility of re-reading the proposed line of concatenation of selected auteur films of the twentieth century, which Deleuze conceived in the 1980s: the movement-image and the time-image. Beller’s cinematic mode of production gave to these images the missing frames of labor, of the capitalist production relations, and of the capitalist means of production. Grzinić analyzes the status of images in the digital (financial) mode of production of the twenty-first century asking: (1) what is the racialized unconscious of these images, and (2) what is their status in relation to the imperial, colonial, necropolitical, and racial line that cuts global neoliberal capitalism from within and heavily conditions the contemporary production of its financial-images?
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Notes
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Suvendrini Perera, “Dead Exposures: Trophy Bodies and Violent Visibilities of the Nonhuman,” in borderlands 13, no.1, 2014.
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David Joselit, Against Representation. In conversation with David Andrew Tasman, 2015, http://dismagazine.com/discussion/75654/david-joselit-against-representation/
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Marina Gržinić, Šefik Tatlić, Necropolitics, Racialization and Global Capitalism: Historicization of Biopolitics and Forensics of Politics, Art, and Life, Lanham: Lexington Books, 2014.
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World War Z is a 2013 American apocalyptic action horror film directed by Marc Forster. The screenplay by Matthew Michael Carnahan, Drew Goddard, and Damon Lindelof is from a screen story by Carnahan and J. Michael Straczynski, based on the 2006 novel of the same name by Max Brooks. The film stars Brad Pitt as Gerry Lane, a former United Nations investigator who must travel the world to find a way to stop a zombie pandemic.
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Beatriz Preciado, Testo junkie. Sexe, drogue et biopolitique, translated in French from Spanish by Preciado, Paris: Edition Grasset, 2008.
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Gilles Deleuze, Cinema 1: The Movement-Image, trans. by Hugh Tomlinson and Barbara Habberjam, Minneapolis, MN: University of Minnesota Press, 1 edition, 1986.
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Gilles Deleuze, Cinema 2: The Time-Image, trans. by Hugh Tomlinson and Robert Caleta, Minneapolis, MN: University of Minnesota Press, 1 edition, 1989.
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D.N. Rodowick, Gilles Deleuze’s Time Machine, Durham: Duke University Press, 1997.
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Cf. Marina Gržinić, “Deleuze’s time-image models and the virtual-image,” in Polygraph, no. 14, Durham: Duke University, 2002, 101–114.
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Jonathan Beller, The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle, Hanover, NH: Dartmouth College Press, 2006.
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Gilles Deleuze, “Postscript on the Societies of Control,” in October, Vol. 59, winter 1992, 3–7. The text was first published in French in 1990.
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Henri Lefebvre, The Production of Space, trans. Donald Nicholson-Smith, Oxford: Blackwell, 1991. Originally published in 1974.
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Richard Beardsworth, Derrida and the Political, New York: Routledge, 1996.
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A woman, accidentally caught in a dark deal, turns the tables on her captors and transforms into a merciless warrior evolved beyond human logic.
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See Preciado, Testo junkie. Sexe, drogue et biopolitique.
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Dan Thu Nguyen and Jon Alexander, “The Coming of Cyberspacetime and the End of the Polity,” in Cultures of Internet, 1996, 102.
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Jacques Derrida, Spectres de Marx, Paris: Galilée, 1993.
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See Beardsworth, Derrida and the Political, 146.
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Catherine Malabou, and N. Vahanian, “A Conversation with Catherine Malabou,” in Journal for Cultural and Religious Theory 9, 2008, 1–13.
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Suvendrini Perera, “Dead Exposures: Trophy Bodies and Violent Visibilities of the Nonhuman,” in borderlands 13, no.1, 2014.
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Joseph Pugliese, State Violence and the Execution of Law: Biopolitcal Caesurae of Torture, Black Sites, Drones, New York: Routledge, 2013, 33.
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Frantz Fanon, The Wretched of the Earth, trans. Constance Farrington, New York: Grove Press, 1963.
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Gržinić, M. (2017). Racialized Bodies and the Digital (Financial) Mode of Production. In: Gržinić, M., Stojnić, A., Šuvaković, M. (eds) Regimes of Invisibility in Contemporary Art, Theory and Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-55173-9_2
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