Kahle, Shannon A. (Author)
The proliferation of traumatized bodies on screen is matched by the proliferation of body studies in the humanities and social sciences. The interest in the body has exploded among a number of fields of study and is a staple in visual culture. What is happening in contemporary representation and spectatorship of pain and 'ruined bodies'? What is the relationship of contemporary visuality, the ruined body, and the social? Finally, what is the mode of selfhood deployed in contemporary visual culture and how is it related to other discursive-institutional realms of practice? In this dissertation I consider three fictional visual texts that elucidate particular institutional realms within which the body is centrally figured; these texts are the medical drama House M.D., the first three films of the horror series Saw, which draws heavily on religious discourse and iconography, and the forensic investigation drama Bones. The purpose is to consider the ways in which these texts represent the practices of each realm as well as the visualization of the body itself and the model of the self and the social deployed in each. I am proposing that these texts are not just symptomatic of cultural concerns, but that they help to articulate and constitute these concerns by incorporating and articulating them with other regimes of knowledge and representation. Moreover, as the literature on visual media, science, and culture has shown, the visual conventions developed and deployed in one arena of inquiry are rarely, if ever, unaffected by developments in other arenas of knowledge and culture nor do they remain in the 'originating' realm of practice but become quickly entangled in or create new nodes with other institutional-discursive realms. I conclude in the final chapter by arguing that the use of open bodies in contemporary visual culture--a characteristic of all three analyzed texts and others--can be read through the notion of the grotesque body, and I will discuss the ways in which each text's treatment of the grotesque body reflects broader socio-cultural shifts. I also consider some of the themes that emerge across the texts, which I suggest, are symptomatic of broader cultural concerns. Each text privileges the body as a means of knowing the other and cultivates an attitude of awe toward an authority figure who is a master of reading the body and its visual artifacts. I argue that this privileging of the body in popular culture is one cultural manifestation of an emerging challenge to dialogic and confessional practices in other realms. I then consider the implications of this for our notions of subjectivity by placing the challenge to confession alongside the implications of another conceptual recuperation in the texts studied here, that of the indexical property of the image. Bringing together two trends documented by a number of scholars, I suggest that visual mediation of the body may soon become a dominant means of understanding the self and others and speculate on some of the implications of this for contemporary modes of self making, the possibility for communication and cooperation, the limits of surveillance practices, and the nature of evidence in several (legal, medical, interpersonal) settings.
...MoreDescription Cited in Dissertation Abstracts International-A 75/01(E), Jul 2014. Proquest Document ID: 1442475979.
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