ABSTRACT

This article approaches questions of race and imperialism in India Song through the film’s strategies of sound. Departing from the notion that Duras’s relegation to the soundtrack of certain aspects of the film’s colonial context might be read as a means to avoid the totalising risks of the image, this article suggests that, in the film, sound is deployed not only as a means of survival for the non-white subject but also as a site of political agency and a space in which to forge tentative forms of community. As the film’s use of language intersects with questions of power and resistance, India Song imagines models of political enunciation which avoid the semiotic privilege of the signifier and thus challenge the violence of hegemonic language in the colonial context. Thus, as the film uses sound to imagine new ways of being public without the risk of visual capture, noise emerges as an opaque site of connection and enunciation beyond the demand for recognition and legibility upon which logos is predicated.

摘要

本文通过电影的声音策略来探讨“印度之歌”中种族和帝国主义的问题。与杜拉斯沦为电影殖民地某些方面的原声带的概念可能被理解为避免图像整体风险的一种手段不同，本文建议，在电影中，声音的部署不仅是一种手段非白人主题的生存空间，也可作为政治机构的场所和建立试探性社区形式的空间。由于电影对语言的使用与权力和抵抗的问题相交，印度歌曲想象政治表达的模型避免了指称者的符号学特权，从而挑战了殖民背景下霸权语言的暴力行为。因此，当电影使用声音想象公开的新方式而又没有视觉捕捉的风险时，噪音就以不透明的连接和表达方式出现，超出了徽标的识别和易读性的要求。