great, i'll post it on philos-l.
Best wishes
Havi
---
Dr Havi Hannah Carel
Senior Lecturer in Philosophy
Faculty of Social Sciences and Humanities
University of the West of England
St Matthias Campus
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Fishponds
Bristol BS16 2JP
UK
Tel.: +44 (0)117 907 9359
URL: http://www.uwe.ac.uk/hlss/politics/staff_hcarel.shtml
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Sent: 23 February 2010 10:48
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Subject: Charlie Kaufman Symposium - UWE 10th March
Apologies for cross posting
UWE Film Studies Research Group
Charlie Kaufman Symposium
Wednesday 10 March 15.30 18.00
University of the West of England (UWE)
Bristol
St Mathias Campus Room MO33
All Welcome!
Speakers
Dr David Sorfa, (Senior Lecturer in Film Studies) Liverpool John Moores
University
Show & Tell: Sycotic Fetishism in Synecdoche, New York (2008) and The Trial
(1925)
Dr Havi Carel (Senior Lecturer in Philosophy)
The return of the erased: Memory and forgetfulness in Eternal Sunshine of
the Spotless Mind (2004)
Respondent
Dr Greg Tuck (Senior Lecturer in Film Studies) UWE
Charlie Kaufmans mind games, or, Being Charlie Kaufman
For details please contact greg.tuck @uwe.ac.uk
Abstracts
Dr. David Sorfa
Show & Tell: Sycotic Fetishism in Synecdoche, New York (2008) and The Trial
(1925)
If film can be thought to do or be philosophy then one way in which it seems
to be able to do this is by showing us - allowing us to personally
experience - the full emotional force of a philosophical problem (e.g. What
it means to die; What it means to have no free will; What it means to act in
an ethical manner) in a way that philosophy itself can only ever tell us
about. Does it make sense to say: Film can show us philosophy in a way that
philosophy can only ever tell us about? In Charlie Kaufmans recent film,
the apparently brilliant theatre director, Caden Cotard (Philip Seymour
Hoffman), asks Hazel (Samantha Morton) what book she is reading. The
Trial, she answers, Have you read it? Yes. In this paper I would like
to sketch out a number of issues that proceed from this short encounter. My
general claim is that Synecdoche, New York is indeed an adaptation of
Kafkas The Trial and it is the issue of adaptation as such that will be the
subject under discussion. By adaptation I broadly mean the movement of
meaning from one place to another, whether it be from text to screen or from
person to person or from philosophy to film, and it is the central
importance of language - broadly understood - in this process that I
particularly wish to explore.
Dr Havi Carel
The Return of the Erased: Memory and Forgetfulness in Eternal Sunshine of
the Spotless Mind (2004)
Eternal Sunshine of the Spotless Mind is a film about remembering and
forgetting loss. This paper reads the film as an examination of mourning and
melancholia, which are distinct ways of remembering and forgetting both a
love object and its loss. Freud distinguished mourning from its pathological
counterpart, melancholia, claiming that there is a normal way to grieve,
mourning, and its degeneration into an abnormal pattern, melancholia. I aim
to make two points: firstly, that both processes are characterized by
ambivalence and identification and therefore have some commonalities;
secondly, that there is a difference between the two processes that is less
apparent than the ones discussed by Freud. This is the difference between
remembering a good and a bad object. Following Klein the author argues that
this is a crucial qualitative difference between mourning and melancholia.
She concludes that a central issue in grieving is not forgetting but
remembering well.
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