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dc.contributor.author Dixon, Deborah P.
dc.contributor.author Zonn, L.
dc.date.accessioned 2008-12-15T15:09:36Z
dc.date.available 2008-12-15T15:09:36Z
dc.date.issued 2005-07
dc.identifier.citation Dixon , D P & Zonn , L 2005 , ' Confronting the geopolitical aesthetic: Fredric Jameson, The Perfumed Nightmare and the Perilous Place of Third Cinema ' Geopolitics , vol 10 , no. 2 , pp. 290-315 . , 10.1080/14650040590946593 en
dc.identifier.issn 1465-0045
dc.identifier.other PURE: 95685
dc.identifier.other dspace: 2160/1637
dc.identifier.uri http://hdl.handle.net/2160/1637
dc.description Dixon, Deborah, Zonn, L., (2005) 'Confronting the geopolitical aesthetic: Fredric Jameson, The Perfumed Nightmare and the Perilous Place of Third Cinema', Geopolitics 10(2) pp.290-315 RAE2008 en
dc.description.abstract This essay explores the conceptual limitations within Fredric Jameson's notion of the geopolitical aesthetic through an analysis of Jameson's now classic reading of The Perfumed Nightmare; this film is central to his concept of the utopic character of film more generally and, moreover, to his argument on the embeddedness of Third World representations within a global, capitalist system. We suggest that, although Jameson acknowledges the underlying constructed and relational character of ontological categories such as film (despite their reification under capitalism), his theory of historical materialism demands that they also be understood as formed with regard to a socio-economic totality. And, because the recognition of a totality requires a master narrative within which all can be understood and framed within a logic of equivalence, Jameson must by default conceive of epistemology as fundamentally divided between a true and a false consciousness. Taking our own cue from recent developments in anti-essentialist thought, we conceive of such cultural forms as the temporarily fixed embodiment of broader-scale discourses that continually construct and deconstruct the world as we know it, including our understandings of the 'real' as well as the 'economic', the 'political' and the 'cultural'. In our own re-imagining of The Perfumed Nightmare, we provide a partial response to this, noting how these realms are constituted from the temporary 'fixing' of a series of people- and place-based identities, such as those constituted under the rubric of 'gender'. Accordingly, we re-work the term 'cognitive mapping' as the attempt to outline the web of significations within which objects are embedded as well as the concomitant lines of fracture and contradiction that allow for such objects to become meaningful in a host of other contexts. en
dc.format.extent 26 en
dc.language.iso eng
dc.relation.ispartof Geopolitics en
dc.title Confronting the geopolitical aesthetic: Fredric Jameson, The Perfumed Nightmare and the Perilous Place of Third Cinema en
dc.type Text en
dc.type.publicationtype Article (Journal) en
dc.identifier.doi http://dx.doi.org/10.1080/14650040590946593
dc.contributor.institution Institute of Geography & Earth Sciences en
dc.contributor.institution Cultural and Historical Geography en
dc.description.status Peer reviewed en


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