JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

Notes

1. Michel Faber, Under the Skin (New York: Harvest, 2000). The alien in Faber’s novel is given a name, Isserly, and the third-person narration hews closely to her perspective, offering detailed insight into her history and inner life. Readers are given full access, too, to the messy work performed on the human subjects in the Processing Hall. [return to text]

2. Ara Osterweil, Film Quarterly 67, no. 4 (Summer 2014): 47.

3. Pierre Klossowski, La Monnaie vivante, photographs by Pierre Zucca (Paris: Eric Losfeld Editeur, 1970), n.p.. Jordan Levinson’s English translation of the text (which I have adapted here) is published online: Klossowski, “Living Currency,” trans. Jordan Levinson, <http://anticoncept.phpnet.us/Livingcurrency.htm>.
A new translation of the work is forthcoming: Klossowski, Living Currency, trans. Vernon W. Cisney, Daniel W. Smith, and Nicolae Morar (New York: Bloomsbury, 2017).

4. I am indebted to Eleanor Kaufman’s extensive and insightful analysis of this text in The Derlirium of Praise: Bataille, Blanchot, Deleuze, Foucault, Klossowski (Baltimore: The Johns Hopkins University Press, 2001), 111-129.

5. I discuss Klossowski’s work, and the passages on “industrial slaves” in particular, in a different context in “Architectures of Exchange: Feminism, Public Space, and the Politics of Vulnerability,” Feminist Media Histories 1, no. 3 (Summer 2015): 66-94.

6. Klossowski, La Monnaie vivante, n.p., and Levinson’s translation.

7. Deleuze reflects on the concept of the body without organs, a body or assemblage that lacks an organizing structure: “It goes without saying that one never finds oneself facing anything but mixtures.… [W]hen we spoke at length of the body without organs, and the necessity of making ourselves one, I never thought that one could live without the organism… because subjectivation, organism, pulsation of time, these are the conditions of living. If one leaps over that, it’s what we call a suicide.” Gilles Deleuze, “Sur la musique,” transcription of a seminar on Anti Oedipe et Mille Plateauxat the University of Vincennes, 3 May 1977, trans. Timothy S. Murphy. Both the original and translated versions available under Les Cours de Gilles Deleuze, “Anti Oedipe et Mille Plateaux” at <http://www.webdeleuze.com/php/sommaire.html>.

8. Alexander G. Weheliye, Habeas Viscus: Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human (Durham, NC: Duke, 2014), 91.

9. Alessandra Raengo, “Optic Black: Blackness as Phantasmagoria,” in Akil Houston, ed., Beyond Blackface: Africana Images in the US Media, 3rd ed.(Dubuque, IA: Kendall Hunt Publishing, 2010), 160. Benjamin’s formulation of the prostitute in relation to modernity and capital almost certainly had a direct influence on Klossowski’s living currency, as Klossowski was Benjamin’s first French translator, and he and Benjamin engaged in heated debates in several shared intellectual forums in Paris. See Pierre Klossowski, “Letter on Walter Benjamin,” trans. by Christian Hite, Parrhesia 19 (2014): 14-21.

10. An expanded notion of bodies and actants allows us to see the heavy burdens borne by certain classes of human and animal bodies in our current economic markets, as well as the cascading impact of these transactions on other ecological, technological, and sentient bodies. See, for example, Lisa Nakamura’s work on the history of computer chip manufacturing using Navaho women laborers. Nakamura, “Indigenous Circuits: Navajo Women and the Racialization of Early Electronic Manufacture,” American Quarterly 66, no. 4 (December, 2014): 919-941.

11. For New York City public radio audiences, Johansson’s voice is a ubiquitous presence, periodically interrupting the programming to remind us to “just keep listening.” See WNYC’s Tumbler account, <http://wnyc.tumblr.com/post/110551638148/
who-are-the-two-female-voices-that-do-the-keep
>.