Surviving The Jungle Book: Trans-temporal Ventriloquism in Ian Iqbal Rashid's Surviving Sabu

The process of screen adaptation is an act of ventriloquism insofar as it gives voice to contemporary anxieties and desires through its trans-temporal use of a source text. Screen adaptations that propose to negotiate meanings about the past, particularly a conflicted past, are acts of ‘trans-temporal ventriloquism’: they adapt and reinscribe pre-existing source texts to animate contemporary concerns and anxieties. I focus on the acts of trans-temporal ventriloquism in Ian Iqbal Rashid's Surviving Sabu (1998), a postcolonial, turn-of-the-twenty-first century short film that adapts Zoltan and Alexander Korda's film The Jungle Book (1942), itself an adaptation of Rudyard Kipling's collection of short stories by the same name. Surviving Sabu is about the survival and appropriation of orientalist films as a means of self-expression in a postcolonial present. Inherent in this is the idea of cinema as a potentially redemptive force that can help to balance global power inequalities. Surviving Sabu's return to The Jungle Book becomes a means both of tracing the genealogy of specific orientalist discourses and for ventriloquising contemporary concerns. This article demonstrates how trans-temporal ventriloquism becomes a strategy of political intervention that enables the film-maker to take ownership over existing media and narratives. My argument examines Surviving Sabu as an exemplar of cultural studies of the 1980s and 1990s: a postcolonial remediation built on fantasy and desire, used as a strategy of writing within rather than back to empire.

Auditory modulation of spiking activity and local field potentials in area MT does not appear to underlie an audiovisual temporal illusion

The timing of brief stationary sounds has been shown to alter the perceived speed of visual apparent motion (AM), presumably by altering the perceived timing of the individual frames of the AM stimuli and/or the duration of the interstimulus intervals (ISIs) between those frames. To investigate the neural correlates of this “temporal ventriloquism” illusion, we recorded spiking and local field potential (LFP) activity from the middle temporal area (area MT) in awake, fixating macaques. We found that the spiking activity of most MT neurons (but not the LFP) was tuned for the ISI/speed (these parameters covaried) of our AM stimuli but that auditory timing had no effect on that tuning. We next asked whether the predicted changes in perceived timing were reflected in the timing of neuronal responses to the individual frames of the AM stimuli. Although spiking dynamics were significantly, if weakly, affected by auditory timing in a minority of neurons, the timing of spike responses did not systematically mirror the predicted perception of stimuli. Conversely, the duration of LFP responses in β- and γ-frequency bands was qualitatively consistent with human perceptual reports. We discovered, however, that LFP responses to auditory stimuli presented alone were robust and that responses to audiovisual stimuli were predicted by the linear sum of responses to auditory and visual stimuli presented individually. In conclusion, we find evidence of auditory input into area MT but not of the nonlinear audiovisual interactions we had hypothesized to underlie the illusion. NEW & NOTEWORTHY We utilized a set of audiovisual stimuli that elicit an illusion demonstrating “temporal ventriloquism” in visual motion and that have spatiotemporal intervals for which neurons within the middle temporal area are selective. We found evidence of auditory input into the middle temporal area but not of the nonlinear audiovisual interactions underlying this illusion. Our findings suggest that either the illusion was absent in our nonhuman primate subjects or the neuronal correlates of this illusion lie within other areas.