Violent Affect: Literature, Cinema, and Critique after Representation, Marco Abel
Автор: Dienstag Joshua Foa Название: Cinema Pessimism ISBN: 0190067721 ISBN-13(EAN): 9780190067724 Издательство: Oxford Academ Рейтинг: Цена: 4513.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Aesthetic and political representation are often treated separately, but this book argues that film offers a unique perspective through which to understand the dangers to equality and freedom that lurk in representative politics. The potential problems of representative democracy have long been debated: does it cultivate apathy and discourage citizen participation? What does it mean to be faithfully or well represented in a democracy? And how can appropriate, meaningful representation be achieved? Here, these questions are addressed from a new perspective. Representation, Joshua Foa Dienstag argues, can create the illusion of freedom and reciprocity in place of the real thing, and in both cinema and politics, what gives us pleasure is not the same as what secures or supports our existence as free and equal citizens. As this book shows, there are political dangers not visible within the current debates around democratic representation, dangers we can better understand and help to minimize by considering the way that human beings interact, emotionally, with their filmic representations. Dienstag looks at a series of films that directly confront issues of representation (Her, Blade Runner, The Man Who Shot Liberty Valance, Melancholia, and the Up documentary series) to diagnose these hazards and consider how best to respond to them. Each chapter looks at a specific film as emblematic of a different conception or problem of representation often ignored by mainstream political debates (such as reciprocity, happiness, boundaries, evil) to show that the relationship between representation and freedom is fraught with tension. This book continues Dienstag's earlier groundbreaking work on philosophical pessimism, understood not as something despairing, but as a rejection of the idea that these necessary tensions can be cured. Ultimately, Dienstag seeks to defend a kind of pessimistic politics that might produce a better sort of democratic representation than what we have today.
Francophone African Women Documentary Filmmakers is groundbreaking edited collection which explores the contributions of Francophone African women to the field of documentary filmmaking. Rich in its scope and critical vision it constitutes a timely contribution to cutting-edge scholarly debates on African cinemas. Featuring 10 chapters from prominent film scholars, it explores the distinctive documentary work and contributions of Francophone African women filmmakers since the 1960s. It focuses documentaries by North African and Sub-Saharan women filmmakers, including the pioneering work of Safi Faye in Kaddu Beykat, Rama Thiaw's The Revolution Will Not be Televised, Katy Lena Ndiaye's Le Cercle des noyes and En attendant les hommes, Dalila Ennadre's Fama: Heroism Without Glory and Leila Kitani's Nos lieux interdits. Shunned from costly fictional- 35mm-filmmaking, Francophone African Women Documentary Filmmakers examines how these women engaged and experimented with documentary filmmaking in personal, evocative ways that countered the officially sanctioned, nationalist practice of show and teach/promote.
Francophone African Women Documentary Filmmakers is groundbreaking edited collection which explores the contributions of Francophone African women to the field of documentary filmmaking. Rich in its scope and critical vision it constitutes a timely contribution to cutting-edge scholarly debates on African cinemas. Featuring 10 chapters from prominent film scholars, it explores the distinctive documentary work and contributions of Francophone African women filmmakers since the 1960s. It focuses documentaries by North African and Sub-Saharan women filmmakers, including the pioneering work of Safi Faye in Kaddu Beykat, Rama Thiaw's The Revolution Will Not be Televised, Katy Lena Ndiaye's Le Cercle des noyes and En attendant les hommes, Dalila Ennadre's Fama: Heroism Without Glory and Leila Kitani's Nos lieux interdits. Shunned from costly fictional- 35mm-filmmaking, Francophone African Women Documentary Filmmakers examines how these women engaged and experimented with documentary filmmaking in personal, evocative ways that countered the officially sanctioned, nationalist practice of show and teach/promote.
Автор: Browne, Nick Название: Cahiers du Cinema ISBN: 0415029872 ISBN-13(EAN): 9780415029872 Издательство: Taylor&Francis Рейтинг: Цена: 22202.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Автор: Kilbourn, Russell J.A. Название: Cinema, Memory, Modernity ISBN: 0415801184 ISBN-13(EAN): 9780415801188 Издательство: Taylor&Francis Рейтинг: Цена: 24499.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Название: Affect, Emotion, and Children`s Literature ISBN: 1138244678 ISBN-13(EAN): 9781138244672 Издательство: Taylor&Francis Рейтинг: Цена: 22202.00 р. Наличие на складе: Поставка под заказ.
Описание: Describing Jewish representation by Jews and Gentiles in the British Romantic era from the Old Bailey courtroom and popular songs to novels, poetry, and political pamphlets, Scrivener integrates popular culture with belletristic writing to explore the wildly varying treatments of stereotypical Jewish figures.
Автор: Domietta Torlasco Название: The Rhythm of Images: Cinema beyond Measure ISBN: 151791020X ISBN-13(EAN): 9781517910204 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 12540.00 р. Наличие на складе: Нет в наличии.
Описание:
A rigorous and imaginative inquiry into rhythm’s vital importance for film and the moving image
Focusing attention on a concept much neglected in the study of film, The Rhythm of Images opens new possibilities for thinking about expanded perception and idiosyncratic modes of being. Author Domietta Torlasco draws on both critical theory and cinema to elaborate a notion of rhythm in its pre-Socratic sense as a “manner of flowing,” a fugitive and irregular mode that privileges contingency and calls up the forgotten fluidity of forms. She asks what it would mean to take this rhythm as an ontological force in its own right, and her sustained response intermingles interpretation and creation, formal experimentation and theoretical precision. Rhythm emerges here as a pivotal means of resistance to power, and thus a key to defining the relationship between the aesthetic and the political.
Working with constellations of films and media works by key international artists—from Michelangelo Antonioni, Jean-Luc Godard, and David Lynch to Harun Farocki and Victor Burgin, among others—Torlasco brings to bear on them her distinctive concept of rhythm with respect to four interrelated domains: life, labor, memory, and medium. With innovative readings of artworks and critical texts alike, The Rhythm of Images fashions a vibrant, provocative theory of rhythm as the excess or potential of perception.
Ultimately, the book makes a major intervention in thinking about the relation between rhythm as a form that eludes measure and the world-making power of images. The result is a vision of cinema as a hybrid medium endowed with the capacity not only to reinvent corporeal boundaries but also to find new ways of living together.
Автор: Torlasco Domietta Название: The Rhythm of Images: Cinema Beyond Measure ISBN: 1517910218 ISBN-13(EAN): 9781517910211 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 3135.00 р. Наличие на складе: Нет в наличии.
Описание:
A rigorous and imaginative inquiry into rhythm’s vital importance for film and the moving image
Focusing attention on a concept much neglected in the study of film, The Rhythm of Images opens new possibilities for thinking about expanded perception and idiosyncratic modes of being. Author Domietta Torlasco draws on both critical theory and cinema to elaborate a notion of rhythm in its pre-Socratic sense as a “manner of flowing,” a fugitive and irregular mode that privileges contingency and calls up the forgotten fluidity of forms. She asks what it would mean to take this rhythm as an ontological force in its own right, and her sustained response intermingles interpretation and creation, formal experimentation and theoretical precision. Rhythm emerges here as a pivotal means of resistance to power, and thus a key to defining the relationship between the aesthetic and the political.
Working with constellations of films and media works by key international artists—from Michelangelo Antonioni, Jean-Luc Godard, and David Lynch to Harun Farocki and Victor Burgin, among others—Torlasco brings to bear on them her distinctive concept of rhythm with respect to four interrelated domains: life, labor, memory, and medium. With innovative readings of artworks and critical texts alike, The Rhythm of Images fashions a vibrant, provocative theory of rhythm as the excess or potential of perception.
Ultimately, the book makes a major intervention in thinking about the relation between rhythm as a form that eludes measure and the world-making power of images. The result is a vision of cinema as a hybrid medium endowed with the capacity not only to reinvent corporeal boundaries but also to find new ways of living together.
Under modernity, time is regarded as linear and measurable by clocks and calendars. Despite the historicity of clock-time itself, the modern concept of time is considered universal and culturally neutral. What Walter Benjamin called “homogeneous, empty time” founds the modern notions of progress and a uniform global present in which the past and other forms of time consciousness are seen as superseded.
In Translating Time, Bliss Cua Lim argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple “immiscible temporalities” that strain against the modern concept of homogeneous time. In this wide-ranging study—encompassing Asian American video (On Cannibalism), ghost films from the New Cinema movements of Hong Kong and the Philippines (Rouge, Itim, Haplos), Hollywood remakes of Asian horror films (Ju-on, The Grudge, A Tale of Two Sisters) and a Filipino horror film cycle on monstrous viscera suckers (Aswang)—Lim conceptualizes the fantastic as a form of temporal translation. The fantastic translates supernatural agency in secular terms while also exposing an untranslatable remainder, thereby undermining the fantasy of a singular national time and emphasizing shifting temporalities of transnational reception.
Lim interweaves scholarship on visuality with postcolonial historiography. She draws on Henri Bergson’s understanding of cinema as both implicated in homogeneous time and central to its critique, as well as on postcolonial thought linking the ideology of progress to imperialist expansion. At stake in this project are more ethical forms of understanding time that refuse to domesticate difference as anachronism. While supernaturalism is often disparaged as a vestige of primitive or superstitious thought, Lim suggests an alternative interpretation of the fantastic as a mode of resistance to the ascendancy of homogeneous time and a starting-point for more ethical temporal imaginings.
Under modernity, time is regarded as linear and measurable by clocks and calendars. Despite the historicity of clock-time itself, the modern concept of time is considered universal and culturally neutral. What Walter Benjamin called “homogeneous, empty time” founds the modern notions of progress and a uniform global present in which the past and other forms of time consciousness are seen as superseded.
In Translating Time, Bliss Cua Lim argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple “immiscible temporalities” that strain against the modern concept of homogeneous time. In this wide-ranging study—encompassing Asian American video (On Cannibalism), ghost films from the New Cinema movements of Hong Kong and the Philippines (Rouge, Itim, Haplos), Hollywood remakes of Asian horror films (Ju-on, The Grudge, A Tale of Two Sisters) and a Filipino horror film cycle on monstrous viscera suckers (Aswang)—Lim conceptualizes the fantastic as a form of temporal translation. The fantastic translates supernatural agency in secular terms while also exposing an untranslatable remainder, thereby undermining the fantasy of a singular national time and emphasizing shifting temporalities of transnational reception.
Lim interweaves scholarship on visuality with postcolonial historiography. She draws on Henri Bergson’s understanding of cinema as both implicated in homogeneous time and central to its critique, as well as on postcolonial thought linking the ideology of progress to imperialist expansion. At stake in this project are more ethical forms of understanding time that refuse to domesticate difference as anachronism. While supernaturalism is often disparaged as a vestige of primitive or superstitious thought, Lim suggests an alternative interpretation of the fantastic as a mode of resistance to the ascendancy of homogeneous time and a starting-point for more ethical temporal imaginings.
Автор: Di Leo Jeffrey R. Название: Criticism After Critique ISBN: 1137428767 ISBN-13(EAN): 9781137428769 Издательство: Springer Рейтинг: Цена: 10760.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Presenting different ways to imagine criticism without critique, this collection provides a survey of both the difficult times facing ideological critique and the ways in which literary criticism and aesthetics have been affected by changing attitudes toward critique.
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