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The hermeneutics of production: Extensions of the return to Bergson

Maras, Steven (1993) The hermeneutics of production: Extensions of the return to Bergson. PhD thesis, Murdoch University.

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Abstract

Hollywood mythology tells us that the success of a deal hangs on the ability to describe a film in twenty-five words or less. This thesis attempts to place this kind of talk in a different frame to that of'the pitch'. It argues that the narratologisation of the visible has a crucial role in policing, extending, and administering the analytico-industrial capture of film and video production, in practical and theoretical circles, in and outside of the film industry and training institutions. Through a reading of the theories of production and intepretation of Foucault, Bergson, and Deleuze; Danto's relational theory of aboutness; and Hunter's theory of literary pedagogy, it re-evaluates the space of difference, and of commentary, between media production and screen theory.

Prospecting this space of difference, the thesis presents itself as a counter-critique of the narratologisation of the visible: that process whereby productions and processes constituted by, and constitutive of, the visible-in-production are supplanted by verbal products, processes, and modes of understanding. By tracing the linkages between the narratologisation of the visible and the capture of production, it argues that the narratologisation of the visible offers an inadequate account of image production in the sense that it is founded on a disenfranchisement of the materiality of the visible-inproduction, and its related practices or out-of-fields. This disenfranchisement is achieved through a number of 'figures': the separation of product and process as a means of maintaining a purely operational image of practice as the vehicle or technics of the logos; and a determining division between technics and aesthetics which maintains production's dependence on the narratologisation of the visible as a guiding hermeneutics of production.

This thesis attempts to explore alternatives to this hermeneutics of capture by refusing to accept the division of process and product, technics and aesthetics, practice and theory, and industry and stylistics, at face value; and also by questioning production's dependence on the narratologisation of the visible. In this exploration, the thesis attempts to situate production as a conceptual practice able to sustain and develop images of thought not necessarily sanctioned by philosophy, but capable of deterritorialising the narratologisation of the visible, its supporting pedagogies and institutions, and reenfranchising production's relation to materiality, actualisation, and a Bergsonian conception of intuition in action.

Item Type: Thesis (PhD)
Murdoch Affiliation: School of Humanities
Notes: Note to the author: If you would like to make your thesis openly available on Murdoch University Library's Research Repository, please contact: repository@murdoch.edu.au. Thank you.
Supervisor(s): McHoul, Alec
URI: http://researchrepository.murdoch.edu.au/id/eprint/52801
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