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  1. Richard Rushton (2014). Cavell and the Politics of Cinema: On Marie Antoinette. Film-Philosophy 18 (1):110-127.
    This paper examines Stanley Cavell's theories from the perspective of a 'politics of cinema' and engages in a critical reading of Sofia Coppola's 2006 film, Marie Antoinette .
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  2. Richard Rushton (2011). A Deleuzian Imaginary: The Films of Jean Renoir. Deleuze Studies 5 (2):241-260.
    This article contrasts the notion of a Deleuzian imaginary with that articulated by various film theorists during the 1970s and 1980s. Deleuze offers us, I argue, a way to conceive of the imaginary in the cinema in a positive way; that is, as something which opens up new expressions of the real. By contrast, for film theorists of the 1970s and 1980s, the imaginary was primarily conceived as a negative concept, as something which offered merely escapes or fraudulent distortions of (...)
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  3. Richard Rushton (2011). The Reality of Film: Theories of Filmic Reality. Distributed in the United States Exclusively by Palgrave Macmillan.
     
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  4. Richard Rushton (2008). Passions and Actions: Deleuze's Cinematographic Cogito. Deleuze Studies 2 (2):121-139.
    When writing about cinema does Deleuze have a conception of cinema spectatorship? In New Philosophy for New Media, Mark Hansen argues that Deleuze does have a conception of cinema spectatorship but that the subjectivity central to that spectatorship is weak and impoverished. This article argues against Hansen's reductive interpretation of Deleuze. In doing so, it relies on the three syntheses of time developed in Difference and Repetition alongside an elaboration of Deleuze's notion of a ‘cinematographic Cogito’. In this way, the (...)
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  5. Richard Rushton (2002). Capital Women. Theory and Event 6 (1).
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