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On Drifts and Swerves: Linklater’s Love for Lacunae
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Richard Linklater’s break-through film Slacker (1991) can be seen as a manifestation of topophilia. Its meandering camera drifts in an almost continuous motion through the urban fabric of Austin, Texas, eagerly traversing from one site to another, weaving together the lives of eccentric characters and the idiosyncratic worlds they inhabit. This chapter considers the film’s topophilia in the context of broader postmodern discourses, including Giuliana Bruno’s voyageuristic cartographies, Jean-François Lyotard’s discursive archipelago, and Gilles Deleuze’s unpredictable swerve. It emphasizes the figure of the topophilic swerve as a metaphor for Linklater’s oeuvre, which continually deviates from generic frameworks and categories.
Title: On Drifts and Swerves: Linklater’s Love for Lacunae
Description:
Richard Linklater’s break-through film Slacker (1991) can be seen as a manifestation of topophilia.
Its meandering camera drifts in an almost continuous motion through the urban fabric of Austin, Texas, eagerly traversing from one site to another, weaving together the lives of eccentric characters and the idiosyncratic worlds they inhabit.
This chapter considers the film’s topophilia in the context of broader postmodern discourses, including Giuliana Bruno’s voyageuristic cartographies, Jean-François Lyotard’s discursive archipelago, and Gilles Deleuze’s unpredictable swerve.
It emphasizes the figure of the topophilic swerve as a metaphor for Linklater’s oeuvre, which continually deviates from generic frameworks and categories.
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