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2 books match the query 'Its Shadow'

cover of Mimetic Theory and Its Shadow: Girard, Milbank, and Ontological Violence

Mimetic Theory and Its Shadow

Girard, Milbank, and Ontological Violence

Scott Cowdell

Michigan State University Press, 2023

Leading Girardian theologian Scott Cowdell seeks to resolve a long-standing challenge to mimetic theory: that it entails a fundamental brutishness—an ontological violence. Girard’s account of scapegoating violence, seen as providing the initial stability for our species to emerge and consolidate, hardly seems compatible with Christian belief in God’s good creation, with violence only appearing after a subsequent Fall. The brilliant but controversial theologian John Milbank has long raised this concern about Girard, grounded in a remarkably sophisticated (though seldom fathomed) philosophical theology. Unpacking Milbank’s program, along with Girard’s recasting of Continental philosophy in light of mimetic theory, Cowdell finds a way between two apparently irreconcilable positions. With irenic spirit but analytic tenacity, he probes for ways through Milbank’s arguments while pressing on growth points in Girard’s. Cowdell’s proposals involve reframing divine creation in light of salvation history, reimagining divine participation by thinking Christ and evolution together, and developing a semiotic approach to mimetic theory that delivers ontological peace hermeneutically. Cowdell shows how Girard’s vision of human transformation through faith in Christ reveals a different world beyond ontological violence while preserving the divine participation that Milbank champions.
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cover of The Cinema and Its Shadow: Race and Technology in Early Cinema

The Cinema and Its Shadow

Race and Technology in Early Cinema

Alice Maurice

University of Minnesota Press, 2013


The Cinema and Its Shadow argues that race has defined the cinematic apparatus since the earliest motion pictures, especially at times of technological transition. In particular, this work explores how racial difference became central to the resolving of cinematic problems: the stationary camera, narrative form, realism, the synchronization of image and sound, and, perhaps most fundamentally, the immaterial image—the cinema’s “shadow,” which figures both the material reality of the screen image and its racist past.


Discussing early “race subjects,” Alice Maurice demonstrates that these films influenced cinematic narrative in lasting ways by helping to determine the relation between stillness and motion, spectacle and narrative drive. The book examines how motion picture technology related to race, embodiment, and authenticity at specific junctures in cinema’s development, including the advent of narratives, feature films, and sound. In close readings of such films as The Cheat, Shadows, and Hallelujah!, Maurice reveals how the rhetoric of race repeatedly embodies film technology, endowing it with a powerful mix of authenticity and magic. In this way, the racialized subject became the perfect medium for showing off, shoring up, and reintroducing the cinematic apparatus at various points in the history of American film.


Moving beyond analyzing race in purely thematic or ideological terms, Maurice traces how it shaped the formal and technological means of the cinema.


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