This thesis explores the problematic relationship between language loss and visuality in European exile and emigre filmmaking, from the 1940s until the present. The basic theoretical premise adopts Freud's theory of aphasia and its Kristevan interpretation to define the psychic effects of linguistic displacement as the scission of the word-presentation from the thing-presentation and the consequent denial of the symbolic signifier. This depletion of language is compensated or overcompensated for through recourse to the indexical (semiotic) signification of photography, whose psychological significance resides both in its eschewal of the arbitrariness of the signifier, and in its revindication of the semiotic materiality that is indispensable to a meaningful relation to language. At the same time, the overreliance on vision/indexicality risks a hallucinatory excess against which no signification is possible, thus positing an irremediable paradox at the heart of the relationship between linguistic displacement and cinematic visuality. In enacting this relationship, both formally and thematically, the films discussed here attest not only to the crucial, and underexplored, impact of language loss on the development of Western cinema, but also to its theoretical implications for the medium as such. -- Following the introduction, the thesis proceeds through four thematically organized chapters, whose films were selected both for their manifest links to linguistic displacement and for their widespread influence.

Cinema and Language Loss provides the first sustained exploration of the relationship between linguistic displacement and visuality in the filmic realm, examining in depth both its formal expressions and theoretical implications. In tracing the encounter between cinema and language loss across a wide range of films - from Billy Wilder's Sunset Boulevard to Chantal Akerman's News from Home to Michael Haneke's Caché - Mamula reevaluates the role of displacement in postwar Western film and makes an original contribution to film theory and philosophy based on a reconsideration of the place of language in our experience and understanding of cinema.

Cinema and Language Loss provides the first sustained exploration of the relationship between linguistic displacement and visuality in the filmic realm, examining in depth both its formal expressions and theoretical implications. Combining insights from psychoanalysis, philosophy and film theory, the author argues that the move from one linguistic environment to another profoundly destabilizes the subject’s relation to both language and reality, resulting in the search for a substitute for language in vision itself – a reversal, as it were, of speaking into seeing. The dynamics of this shift are particularly evident in the works of many displaced filmmakers, which often manifest a conflicted interaction between language and vision, and through this question the signifying potential, and the perceptual ambiguities, of cinema itself. In tracing the encounter between cinema and language loss across a wide range of films – from Billy Wilder’s Sunset Boulevard to Chantal Akerman’s News from Home to Michael Haneke’s Caché – Mamula reevaluates the role of displacement in postwar Western film and makes an original contribution to film theory and philosophy based on a reconsideration of the place of language in our experience and understanding of cinema.

This collection gathers the contributions of ten scholars on the topic of transnational cultural and physical mobility originating in China. These contributions aim to open conversations among Chinese Studies scholars by applying a Mobility Studies perspective. Exploring diverse narratives and forms of representation from people of Chinese heritage, the book is divided into three parts that each look closely at the relationship between movement and cultural production. The first part is dedicated to four types of mobility of people from China to Italy, namely tourist mobility (Miriam Castorina), labor mobility (Valentina Pedone), student mobility (Xu Hao), and mobility of social elites (Andrea Scibetta). The second part is dedicated to examples of reverse mobility from Italy to China (Gao Changxu, Chiara Lepri, Giuseppe Rizzuto). The third part focuses on case studies based on mobilities from China to territories other than Italy (Rebecca Ehrenwirth, Martina Renata Prosperi, Giulia Rampolla).

Philosophy and the Vision of Language explores the history and enduring significance of the twentieth-century turn to language as a specific object of investigation and resource for philosophical reflection. It traces the implications of the access to language in some of the most prominent projects and results of the historical and contemporary tradition of analytic philosophy, including the projects of Frege, Wittgenstein, Sellars, Quine, Brandom, and Cavell. Additionally, it demonstrates the deep and enduring connections between the analytic tradition’s inquiry into language and the parallel inquiries of phenomenology, critical theory, and deconstruction over the course of the twentieth century. Finally, it documents some of the enduring consequences of philosophy’s inquiry into language for contemporary questions of social and political life. The book provides a clear, accessible and widely inclusive introduction to the relevance of language for analytic and continental philosophy in the twentieth century and is readable by non-specialist audiences. It should contribute to a growing historical sense of the location of the analytic tradition in a broader geography of social, political and critical thought. Furthermore, it contributes to building bridges between this tradition and the neighboring continental ones from which it has all too often been estranged.

While there is a growing body of psycholinguistic experimental research on mappings between language and vision on a word and sentence level, there are almost no studies on how speakers perceive, conceptualise and spontaneously describe a complex visual scene on higher levels of discourse. This book explores the relationship between language, eye movements and cognition, and brings together discourse analysis with cognitively oriented behavioral research. Based on the analysis of data drawn from spoken descriptive discourse, spontaneous conversation, and experimental investigations, this work offers a comprehensive picture of the dynamic natures of language, vision and mental imagery. Verbal and visual data, synchronised and correlated by means of a multimodal scoring method, are used as two windows to the mind to show how language and vision, in concert, can elucidate covert mental processes.

This book brings together chapters from investigators on the leading edge on this new research area to explore on the leading edge on this new research area to explore common theoretical issues, empirical findings, technical problems, and outstanding questions. This book will serve as a blueprint for work on the interface of vision, language, and action over the next five to ten years.