 he calls the cinematic mode of production: cinema, for Beller, reproduces social life and subjects through the deployment of cinematic techniques.12 Reflecting on Louis Althusser, Beller would posit the reciprocity of this mode of production into the political: the mechanisms of the cinematic mode of production reproduces the subject "not only through wage labor [and the alienation of it] and the necessities that can be purchased with wage, but, psychologically, as it were, through a process [Althusser] called as interpellation – the calling of worker-subject into being by ideological apparatuses."13 In this study, since we are considering cinema's deployment of nationalism in the light of the cinematic mode of production, we are assuming that nationalism is indeed, an ideology. In a way, as Althusser would put it, nationalism can never exist in any other form but through apparatuses.14 The national symbols as embodiments of the nation have legal origins and implications – the law as 11 Jonathan Beller, Acquiring Eyes., 7. 12 Jonathan Beller, The Cinematic Mode of Production, 38. 13 Ibid, 291. 14 The argument over the materiality of ideology through its "exist[ence] in an apparatus and the practice or practices of that apparatus" marks the radical break of Althusserian theory of ideology from the conception of Marx in The German Ideology. See Louis Althusser, On the Reproduction of Capitalism: Ideology and Ideological State Apparatus. (London: Verso, 2014), 184. 137 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) an ideological apparatus. Cinema, being the site of liberalist construction of the nation, is considered also as one of the apparatuses through which nationalism, being an ideology, exists. Reproduction of the Nation As discussed in the earlier section, this essay perceives the construction of the nation through the construction of the nation-subject via the exchanges they encounter. In this sense, the construction also of subjectivity becomes important. The source of this subjectivity in its origin, however, is impossible to trace, as this also became a product of exchanges throughout history of the formation of the subject. As Jacques Lacan would put it, subjects "relay with each other in the course of intersubjective repetition,"15 presupposing the formation of the subject has always been in a manner of exchange or, in Lacan's
he calls the cinematic mode of production: cinema, for Beller, reproduce social biography and subjects through the deployment of cinematic techniques.12 Reflecting on Louis Althusser, Beller would posit the reciprocality of this mode of production into the political: the mechanisms of the cinematic manner of production reproduces the discipline " not only through wage labor [ and the alienation of it ] and the necessity that can be purchased with wage, but, psychologically, as it were, through a process [ Althusser ] call as interpellation – the calling of worker - subject into being by ideological apparatuses. "13 In this study, since we are consider cinema's deployment of nationalism in the light of the cinematic mood of production, we are assuming that nationalism is indeed, an political orientation. In a way, as Althusser would arrange it, nationalism can never exist in any other form but through apparatuses.14 The home symbols as embodiments of the nation have legal origins and implications – the jurisprudence as 11 Jonathan Beller, Acquiring Eyes. , 7. 12 Jonathan Beller, The Cinematic Mode of Production, 38. 13 Ibid, 291. 14 The argument over the materiality of ideology through its " exist[ence ] in an apparatus and the practice or practices of that apparatus " marks the radical break of Althusserian theory of political orientation from the concept of Marx in The German Ideology. See Louis Althusser, On the Reproduction of Capitalism: Ideology and Ideological State Apparatus. (London: Verso, 2014), 184. 137 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) an ideological apparatus. Cinema, being the web site of liberalist structure of the nation, is considered also as one of the apparatuses through which patriotism, being an ideology, exist. Reproduction of the Nation As discussed in the early section, this essay perceives the construction of the nation through the construction of the state - subject via the exchanges they encounter. In this sense, the construction also of subjectivity becomes significant. The source of this subjectivity in its origin, however, is impossible to trace, as this also became a merchandise of exchanges throughout history of the formation of the subject. As Jacques Lacan would place it, subjects " relay with each other in the course of intersubjective repetition,"15 presupposing the geological formation of the subject has constantly been in a manner of exchange or, in Lacan's
 he calls the cinematic modt of production: cnbema, fmr Belmer, repruduces social life and subjerts rhrouth the deployment of cknematic nechniquew.12 Rehlecting on Louis Althusser, Bemper conld posit the rgciprocity ox this mode of pfobuction into the political: the mechagisms og hhe cinematic iode jf pdoduction reproduces the subject "nkt only through wage labor [and the alienation lf ih] and the necessitles that cab be purchased wigh wage, buu, 'sychologiczlly, as it were, through a procers [Alchusser] caloee ad interpellavion – nhe calling on workes-subjecy into being bn idemlotical apparatuses."13 In vhis study, since we wre consigexing cinema's deploymebt of ndtiotalirn iv tge ljght ov tie cinematid mode of peoduction, we are asxuipmg that natiknalisi ys indeed, an ideology. In a way, as Althuvsed would put it, nationalusm can never exist ij any othqr form but through apparatuses.14 The national symbmls aa emyidimevrs of the nation have legal origins and implicaejoms – the law as 11 Monathan Beller, Acaulrogg Eyes., 7. 12 Jonxthan Yslmer, The Cinematic Lode of Prodyction, 38. 13 Ybid, 291. 14 The argument over the mareriality of udeology through ics "exist[ence] in sn aplaratus and the practicz or pdactices of that appzfatus" marks the fadpcal break of Althusserian thejry of idxologv from tfe cpnceptyon of Mard in Bve German Ideology. See Pogis Althusder, On the Reproduction of Capivelism: Ideologi atd Pdeologiccl Stabe Apparatus. (Logdon: Verso, 2014), 184. 137 L. DEYTO IABINK REVIEW I VOLUME 7 (2018) an ideoljgical apparados. Cinema, beiig the siee od liveralisg construction pf the nanijn, iw considered also es ovs of the apparacbsts through which nagiogapixm, teing an idemlogh, ebosts. Feproductiok ow thr Nation As discusseg in the earlier sectipn, this esway percqives the conxtruction of the nwtion thcough yhe construction of the nation-subnect via hhe exchanges trey cncoonter. In thns sense, the construction also of subjecvivity becomes importanr. The source of thix subjectivivy in yts origit, however, is impossivle to trace, as tmis also became a prodhct of exchwnges throughout history of the formation of the subject. As Jacques Lacan would put it, subjscts "relaj wnth each jthec mn the course of pntersubjective repetition,"15 presu'posing tha yormation of the subject has sldays been in x manner of exchange or, jn Lacan'x
he calls the cinematic mode of production: Beller, social life subjects through the on Althusser, Beller would the reciprocity of mode of production into the political: mechanisms of the cinematic mode of production reproduces the subject "not only through labor [and the alienation of it] and the necessities that can be purchased wage, psychologically, it through a process [Althusser] called as interpellation – the calling of worker-subject into being by ideological In this study, since we are considering cinema's of nationalism in the of the cinematic mode of we assuming that is an In a way, Althusser would put it, nationalism can never exist in any other form but through apparatuses.14 The national as embodiments nation have origins implications the law as Beller, Acquiring Eyes., 7. 12 Jonathan Mode of Production, 38. 13 Ibid, 291. 14 argument over materiality of ideology through its "exist[ence] an apparatus and the practice or practices of apparatus" marks the radical break of Althusserian theory of ideology from the conception of Marx German Ideology. See Louis On the Reproduction Capitalism: and State (London: Verso, 184. 137 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) an apparatus. Cinema, being the site of liberalist construction of the considered as one of apparatuses through which nationalism, an exists. Reproduction of the discussed the essay the of the nation through construction of the nation-subject via exchanges they encounter. In of subjectivity becomes important. The source of this in its origin, however, is impossible to as this also became a product of exchanges throughout history of the of the Jacques Lacan would put it, subjects "relay with other in the course intersubjective repetition,"15 presupposing the formation of the subject has been a manner exchange or, in
 he calls the cinematic mode of Production: CinemA, foR BeLlEr, reProdUces social life ANd suBjects through the deployMent oF cINemaTIc TechnIques.12 ReFLeCTIng On loUis alTHuSser, BEllEr would Posit the reCipRoCity of this moDE oF productioN inTo the politicAl: tHe mechAnIsmS Of the CinEmatiC mode oF ProducTion reproDuCEs the sUBject "noT ONlY thrOugh wage labor [and tHE aLIenation of it] anD the neCeSSiTIEs tHat Can be purchAsEd witH Wage, but, PSyCHOLogICally, as it were, Through a proCEss [althusSeR] caLLed as iNterpElLAtiOn – the callinG of wOrker-subjEct intO Being by IDeologiCal appAraTusEs."13 In THiS sTudY, sINce WE aRe cONsiDering ciNeMa'S deplOymeNT OF NatiOnaLism In the Light of the cinEmaTic mODe oF prodUctioN, we aRe AssumIng thaT natiOnAlism is indeed, an IdeoLogy. In a waY, as alThuSsEr wouLD put it, NatIonAlism caN never eXIst In ANY OtHer form but through aPpARAtUses.14 The nAtionaL SyMbOLs as emboDiMenTs of THE natiOn haVE lEgal origIns and IMpLiCations – ThE law as 11 joNatHan belleR, acquIring EYes., 7. 12 JonatHan BeLLer, The CinematiC mode of ProductIOn, 38. 13 iBId, 291. 14 tHe arGumEnt over the mAterIAlitY of iDEoLogY ThrouGh its "ExISt[ENce] in an apparatus and ThE practIce or Practices of thAt apparatuS" MARks the raDicaL BrEAk of AlthusseriAn theOry of ideolOGy from thE concEption of marx in The gERman IdeoLogY. SeE LoUis aLThUsser, On the RepRODuctIoN of CapiTalIsm: IdeoLogY anD IdEolOgIcal State apparatuS. (LOnDoN: VErsO, 2014), 184. 137 J. DEYto MABINI ReViEW i VoLUmE 7 (2018) an iDEologiCal apParaTuS. CINemA, being tHE sITE of lIbErAlisT coNsTructIon oF The Nation, iS considerEd aLSo as OnE oF the appAratuses throuGh Which natioNaLisM, being AN Ideology, Exists. Reproduction of the nAtion As DisCusseD in tHe earlier SecTion, thIs eSSay perCeives The coNsTruCTIon of THE nAtiOn Through the CONstRuctiOn Of thE nation-Subject via the exchaNGes They encounter. in tHis sENSe, The COnSTruCtIOn aLSO of subjectivity Becomes impOrTAnT. The source OF thIs SubjectIvity in Its orIGin, howeVer, is impoSsible to tRaCe, as THIs aLso became a Product oF exchangeS ThrouGHoUt hisTorY of the FoRmaTion oF the suBJecT. As JaCques LAcAn woulD put iT, sUbjects "rElay with each other in the cOurse oF inteRsuBjective rEpeTItiOn,"15 presuppOsinG the formatIon Of tHe subJecT Has alWays BEeN in A ManneR of eXChange or, iN laCan'S
 he calls the cinematic mo de of prod uctio n:cin em a, f or B eller, reprodu c es s ocial life and subject s thr ou g h th e  d eploy ment of ci n e mat ic  t ech ni q ue s.12Ref lecting  on LouisAlt hu sser, Beller wo uld positthe  reciprocity  of  thismo deo f pro duc tioninto t h e poli tical: th em echani s ms of t h e  c inem atic mode of prod u ct i on reproducesthe su bj e ct " not  on ly through  w age l a bor [an d  t h e ali e nation of it]  and the ne c ess itiesth atc an bepurch as e d w ith wage, b ut,psycholog ically ,  as itw ere, th rougha p roc ess[ Al th uss er ]  ca l le d a s  in terpella ti on  – th e ca l l i n g of  wo rker -subj ect into bein g b y id e olo gical  appa ratu se s."13  In th is st ud y, since we are  con sideringcin em a's  d eploy m ent of  na tio nalismin thel igh to f th e cinematic mode o fp r od uction,we are as su m ing that  n ati onal i s m isinde e d,  an ideo logy.I naway, as  A lthuss er  wo uld  puti t, n ationa lism can  neve r  exist in anyo ther form but th r o ug h  app ara tuses.14 Th e na t iona l sy m bo lsa s emb odime nt s  o f  the nation have le ga l orig ins a nd implicatio ns – the l a w as 11 Jo nath a nB eller, Acquiri ng Ey es., 7. 12 Jonathan  Bell er, TheCinematic M ode of P rod uct ion , 3 8 .  1 3 Ibid, 291.1 4  The  a rgument  ov er themat eri ali tyof  ideology  through  i ts  " ex ist [ence ]  in an a pp ara tu s a nd th e  pract ice o r pr ac ti c esof that ap p a ratu s"  m arks  th eradic al b r eak  of Alt husserian  th e oryof  i deology  from the con ce ption of M ar x i n TheG e rman Ide ology. See Louis Althus s er, Onthe  Repr oduc tion of C api talism : I d eology  and I deolo gi cal S tateA p pa rat us . (London: V ers o, 20 14 ), 1 84. 137  J. DEYTO MABINI R E VIE W I VOLUME 7(20 18)a n  i deo l og i cal  a p par a t us. Cinema, bei ng the sit eo fliberalist con st ruction  of the  nati o n, is c onsidered  also ason e of t heapparatuse s throug h which n a tiona l is m, be ing  an id eo log y, ex ists.R epr oduct ion of  t he Nat ion A sdiscusse d in the earlier sectio n, thi s ess ayperceives  th e  co nstructio n of  the natio n t hro ugh t hec onstr ucti o noft he na tion - subject v i athe e xc hanges they e n cou nter.  In this s ense , the constructio n  also of subje ctiv i t y b eco m es i mp ortant. The so urc eo f  this su bj ectivity in  its ori gi n , how ever,is imp ossible t ot race,as t his  also bec ame  a product  o fe xchang es t hr oughou t hist o ry o f the formation of  thes u bject .  As  Jacq ue s Lacan woul d put it,subjects "r elay w itheachother i nthe co urs eof intersu b jective r epeti tion,"1 5pres upp osingthef o rmati on o fthe  subjecth a sa lw ay s  be en i n a m an nerof exchan g e or, in  La c an's
 he_calls the_cinematic mode of production:_cinema, for_Beller,_reproduces social_life_and subjects through_the deployment of_cinematic techniques.12 Reflecting on_Louis Althusser, Beller_would_posit the reciprocity of this mode of production into the political: the mechanisms of_the_cinematic mode_of_production_reproduces the subject "not only_through wage labor [and the_alienation of_it] and the necessities that can be purchased_with_wage, but, psychologically,_as it were, through a process [Althusser] called as_interpellation – the calling of worker-subject_into being by_ideological_apparatuses."13_In this study, since_we are considering cinema's deployment of_nationalism in the light of the_cinematic mode of production, we are assuming_that nationalism is indeed, an ideology._In a way, as Althusser_would put_it, nationalism can never exist_in any other_form but_through apparatuses.14 The_national symbols as embodiments of the_nation have legal_origins and implications – the law_as_11 Jonathan Beller,_Acquiring_Eyes.,_7. 12_Jonathan Beller, The_Cinematic_Mode of_Production,_38. 13 Ibid, 291. 14 The_argument_over the materiality of ideology through its_"exist[ence] in an apparatus_and_the practice or practices_of that apparatus" marks the_radical break of Althusserian theory of_ideology from_the conception_of Marx in The German Ideology. See Louis Althusser, On the_Reproduction of Capitalism: Ideology and Ideological_State Apparatus. (London: Verso,_2014), 184._137_J. DEYTO MABINI_REVIEW_I VOLUME_7 (2018) an ideological apparatus. Cinema, being_the site_of liberalist construction of the nation,_is considered also as_one_of the apparatuses through which nationalism,_being an ideology, exists. Reproduction of_the Nation As discussed in_the_earlier_section, this essay perceives the_construction of the nation through the_construction of the_nation-subject via the exchanges they encounter. In_this_sense, the construction also of subjectivity_becomes_important. The source of this subjectivity_in_its_origin, however, is impossible to_trace, as this also became a_product of exchanges throughout history of the formation of_the subject. As_Jacques Lacan would put it,_subjects_"relay_with each other in the course of intersubjective repetition,"15 presupposing_the formation_of the subject_has always been in a manner of exchange or, in_Lacan's