Meriting the attention of anyone interested in film, psychoanalysis, cultural studies, or ethics, Kaja Silverman's latest work is a richly argued and compelling examination of the radical possibility of idealizing and so, she says, identifying with bodily parameters both alien to the self and “routinely devalued at the site of the cultural screen” (102). To do so, Silverman claims, we need the intervention of alternative images whose coordinates might precipitate the apprehension