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Author: Matthias Grotkopp Publisher: Walter de Gruyter GmbH & Co KG ISBN: 3110612119 Category : Social Science Languages : en Pages : 265
Book Description
How do the temporal and dynamic patterns of media forms and practices create complex constructions of meaning, identity and value? How can we describe the way cinematic images generate and transform the affectively grounded structures that survey, confirm or revise a political community’s horizon of values? Using the exemplary case of feelings of guilt, the author develops an approach that makes patterns of audiovisual compositions intelligible as aesthetic modulations of moral feelings. A sense of guilt is presented here as neither an individualistic psychological emotion nor an external social mechanism of control but as a paradigmatic case for understanding politics and history as based upon embodied affectivity and shared relations to the world. By taking three distinct examples – German Post-War cinema, Hollywood Western and films on climate change – patterns of audiovisual composition and the inherent calculation of affect are analyzed as practices shaping the conditions of possibility of political communities and their historicity.
Author: Matthias Grotkopp Publisher: Walter de Gruyter GmbH & Co KG ISBN: 3110612119 Category : Social Science Languages : en Pages : 265
Book Description
How do the temporal and dynamic patterns of media forms and practices create complex constructions of meaning, identity and value? How can we describe the way cinematic images generate and transform the affectively grounded structures that survey, confirm or revise a political community’s horizon of values? Using the exemplary case of feelings of guilt, the author develops an approach that makes patterns of audiovisual compositions intelligible as aesthetic modulations of moral feelings. A sense of guilt is presented here as neither an individualistic psychological emotion nor an external social mechanism of control but as a paradigmatic case for understanding politics and history as based upon embodied affectivity and shared relations to the world. By taking three distinct examples – German Post-War cinema, Hollywood Western and films on climate change – patterns of audiovisual composition and the inherent calculation of affect are analyzed as practices shaping the conditions of possibility of political communities and their historicity.
Author: Matthias Grotkopp Publisher: Walter de Gruyter GmbH & Co KG ISBN: 3110611295 Category : Social Science Languages : en Pages : 279
Book Description
How do the temporal and dynamic patterns of media forms and practices create complex constructions of meaning, identity and value? How can we describe the way cinematic images generate and transform the affectively grounded structures that survey, confirm or revise a political community’s horizon of values? Using the exemplary case of feelings of guilt, the author develops an approach that makes patterns of audiovisual compositions intelligible as aesthetic modulations of moral feelings. A sense of guilt is presented here as neither an individualistic psychological emotion nor an external social mechanism of control but as a paradigmatic case for understanding politics and history as based upon embodied affectivity and shared relations to the world. By taking three distinct examples – German Post-War cinema, Hollywood Western and films on climate change – patterns of audiovisual composition and the inherent calculation of affect are analyzed as practices shaping the conditions of possibility of political communities and their historicity.
Author: Hermann Kappelhoff Publisher: Columbia University Press ISBN: 0231539312 Category : Performing Arts Languages : en Pages : 276
Book Description
Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. Kappelhoff applies the Deleuzean practice of "thinking in images" to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience.
Author: Danny Gronmaier Publisher: Walter de Gruyter GmbH & Co KG ISBN: 3110760398 Category : Literary Criticism Languages : en Pages : 288
Book Description
Sports and film are media that create time. They are temporal not only in the sense that they are defined and regulated by certain temporalities as a result of processes of social negotiation, but also in the sense of modulating and intervening in these processes in the first place. They are determined by multiple temporalities referring to and aligning along perceptual corporeality; but at the same time, they also produce time through and along temporalities of bodily expression and perception. Thus, as much as we perceive and understand sports and film by means of our culturally coded conceptions of time, this comprehension is itself already the product of these media’s fabrication and modulation of certain audiovisual imaginations of time. This book examines these imaginations with regard to US team sports feature films, understanding the former as the latter’s constitutive conflict which makes these films graspable as a genre in the first place. By addressing temporality as an ever-new crystallization of a heroic past and an unattainable future in a saturated yet volatile present, this conflict connects substantially to the American Dream as an idea of community-building historicity. Departing from a non-taxonomic approach in genre theory and such philosophical recognition of the American Dream as less an ideological narrative but more a social and socially effective imaginary embedded in an audiovisual discourse of time, this book demonstrates the interrelation of sports, cinema and “American” subjectivization along close readings of the poetics of affect of five exemplary sports films (FIELD OF DREAMS, WE ARE MARSHALL, KNUTE ROCKNE ALL AMERICAN, JIM THORPE – ALL-AMERICAN, MIRACLE).
Author: Hamid Dabashi Publisher: Mage Publishers ISBN: 1949445550 Category : Performing Arts Languages : en Pages : 462
Book Description
An academically acclaimed and globally celebrated cultural critic, Hamid Dabashi is the Hagop Kevorkian Professor of Iranian Studies and Comparative Literature at Columbia University. He is the author of a number of highly acclaimed books and articles on Iran, Islam, comparative literature, world cinema, and the philosophy of art, among them Close Up: Iranian Cinema, Past, Present, Future; Dreams of a Nation: On Palestinian Cinema (editor), Iran: A People Interrupted, and Iran without Borders: Towards a Critique of the Postcolonial Nation. He lives with his family in New York City.
Author: Mark Graham Publisher: University of Illinois Press ISBN: 0252035275 Category : History Languages : en Pages : 210
Book Description
In this timely critical introduction to the representation of Afghanistan in film, Mark Graham examines the often surprising combination of propaganda and poetry in films made in Hollywood and the East. Through the lenses of postcolonial theory and historical reassessment, Graham analyzes what these films say about Afghanistan, Islam, and the West and argues that they are integral tools for forming discourse on Afghanistan, a means for understanding and avoiding past mistakes, and symbols of the country's shaky but promising future. Thoughtfully addressing many of the misperceptions about Afghanistan perpetuated in the West, Afghanistan in the Cinema incorporates incisive analysis of the market factors, funding sources, and political agendas that have shaped the films. The book considers a range of films, beginning with the 1970s epics The Man Who Would Become King and The Horsemen and following the shifts in representation of the Muslim world during the Russian War in films such as The Beast and Rambo III. Graham then moves on to Taliban-era films such as Kandahar, Osama, and Ellipsis, the first Afghan film directed by a woman. Lastly, the book discusses imperialist nostalgia in films such as Charlie Wilson's War and destabilizing visions represented in contemporary works such as The Kite Runner.
Author: David Bordwell Publisher: Taylor & Francis ISBN: 113586781X Category : Performing Arts Languages : en Pages : 513
Book Description
Bringing together twenty-five years of work on what he has called the "historical poetics of cinema," David Bordwell presents an extended analysis of a key question for film studies: how are films made, in particular historical contexts, in order to achieve certain effects? For Bordwell, films are made things, existing within historical contexts, and aim to create determinate effects. Beginning with this central thesis, Bordwell works out a full understanding of how films channel and recast cultural influences for their cinematic purposes. With more than five hundred film stills, Poetics of Cinema is a must-have for any student of cinema.
Author: Thomas Elsaesser Publisher: Routledge ISBN: 1134627572 Category : Performing Arts Languages : en Pages : 352
Book Description
In German Cinema – Terror and Trauma Since 1945, Thomas Elsaesser reevaluates the meaning of the Holocaust for postwar German films and culture, while offering a reconsideration of trauma theory today. Elsaesser argues that Germany's attempts at "mastering the past" can be seen as both a failure and an achievement, making it appropriate to speak of an ongoing 'guilt management' that includes not only Germany, but Europe as a whole. In a series of case studies, which consider the work of Konrad Wolf, Alexander Kluge, Rainer Werner Fassbinder, Herbert Achterbusch and Harun Farocki, as well as films made in the new century, Elsaesser tracks the different ways the Holocaust is present in German cinema from the 1950s onwards, even when it is absent, or referenced in oblique and hyperbolic ways. Its most emphatically "absent presence" might turn out to be the compulsive afterlife of the Red Army Faction, whose acts of terror in the 1970s were a response to—as well as a reminder of—Nazism’s hold on the national imaginary. Since the end of the Cold War and 9/11, the terms of the debate around terror and trauma have shifted also in Germany, where generational memory now distributes the roles of historical agency and accountability differently. Against the background of universalized victimhood, a cinema of commemoration has, if anything, confirmed the violence that the past continues to exert on the present, in the form of missed encounters, retroactive incidents, unintended slippages and uncanny parallels, which Elsaesser—reviving the full meaning of Freud’s Fehlleistung—calls the parapractic performativity of cultural memory.
Author: Joseph Luzzi Publisher: JHU Press ISBN: 142141984X Category : Art Languages : en Pages : 228
Book Description
A Cinema of Poetry brings Italian film studies into dialogue with fields outside its usual purview by showing how films can contribute to our understanding of aesthetic questions that stretch back to Homer. Joseph Luzzi considers the relation between film and literature, especially the cinematic adaptation of literary sources and, more generally, the fields of rhetoric, media studies, and modern Italian culture. The book balances theoretical inquiry with close readings of films by the masters of Italian cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, and others. Luzzi's study is the first to show how Italian filmmakers address such crucial aesthetic issues as the nature of the chorus, the relation between symbol and allegory, the literary prehistory of montage, and the place of poetry in cinematic expression—what Pasolini called the "cinema of poetry." While Luzzi establishes how certain qualities of film—its link with technological processes, capacity for mass distribution, synthetic virtues (and vices) as the so-called total art—have reshaped centuries-long debates, A Cinema of Poetry also explores what is specific to the Italian art film and, more broadly, Italian cinematic history. In other words, what makes this version of the art film recognizably "Italian"? "A thought-provoking and well-written investigation of the role of history and realism in Italian cinema and the role played by the centuries-long tradition of poetry (or more precisely, poesis) in this quest."—H-Italy "Ambitious, inventive, learned . . . A Cinema of Poetry . . . brilliantly analyzes the art in the art film by showing how Italian cinema uses a chorus or expresses itself through allegory . . . This impressively intelligent re-description of the tradition surely takes its place alongside other necessary histories of Italian cinema."—Choice Joseph Luzzi is a professor of comparative literature at Bard College. He is the author of Romantic Europe and the Ghost of Italy, which received the MLA’s Scaglione Prize for Italian Studies; My Two Italies, a New York Times Book Review Editors' Choice; and In a Dark Wood: What Dante Taught Me about Grief, Healing, and the Mysteries of Love.
Author: Matthias Grotkopp
Author: Matthias Grotkopp
Author: Matthias Grotkopp
Author: Hermann Kappelhoff
Author: Danny Gronmaier
Author: Hamid Dabashi
Author: P. Adams Sitney
Author: Mark Graham
Author: David Bordwell
Author: Thomas Elsaesser
Author: Joseph Luzzi