John Mowitt
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780520284623
- eISBN:
- 9780520960404
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520284623.003.0007
- Subject:
- Society and Culture, Media Studies
This chapter assesses the odd sound, or sound oddity, of “thirdness”—tercer sonido (third sound). A term that finds its current philosophical footing in the work of Charles Sanders Peirce, thirdness ...
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This chapter assesses the odd sound, or sound oddity, of “thirdness”—tercer sonido (third sound). A term that finds its current philosophical footing in the work of Charles Sanders Peirce, thirdness designates the substance of mediation. But, less abstractly, thirdness also figures decisively in the discursive field of cinema studies. There it resonates as a form of filmmaking, often tied to Latin America in the 1960s, that designates what falls between the global cinema of Hollywood and the various national cinemas that have risen to challenge its cultural and economic hegemony. Noting that despite the enormous theoretical attention given to the phenomenon of “third cinema,” the soundtracks of tercer cine films have largely lapsed into silence. The chapter explores the deployment of “the third” in the Roberto Esposito's The Third Person and Hélène Cixous's The Third Body to track the work of the audit in people's “deafness” to mediation in the works of cultural revolution.Less
This chapter assesses the odd sound, or sound oddity, of “thirdness”—tercer sonido (third sound). A term that finds its current philosophical footing in the work of Charles Sanders Peirce, thirdness designates the substance of mediation. But, less abstractly, thirdness also figures decisively in the discursive field of cinema studies. There it resonates as a form of filmmaking, often tied to Latin America in the 1960s, that designates what falls between the global cinema of Hollywood and the various national cinemas that have risen to challenge its cultural and economic hegemony. Noting that despite the enormous theoretical attention given to the phenomenon of “third cinema,” the soundtracks of tercer cine films have largely lapsed into silence. The chapter explores the deployment of “the third” in the Roberto Esposito's The Third Person and Hélène Cixous's The Third Body to track the work of the audit in people's “deafness” to mediation in the works of cultural revolution.
