A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical (...) arguments, historical discussion, empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

This book is a critical attempt to approach world cinema in a new global frame that updates the national frame of territorial cinemas and the transnational frame of their interplay. The global frame implies the reintegration of border-crossing forces onto the postpolitical plane of troubled globalization with two ethical facets: the soft ethical inclusion of differences in multicultural, neoliberal systems and their hard ethical symptoms of fundamentalist exclusion and terror. Reflecting both, global cinema is formulated as staging crucial challenges that (...) today's globalism and its antinomies bring to the notions of subjectivity and community. Many films indeed depict the antagonism between the inclusive global system and its excluded remnants, allegorizing the impossible political change in various modes of catastrophe and nihilism. A global community often takes on a totalized network of sovereign violence and (counter)terror stuck in the impasse of utopian imagination. Yet some films suggest alternative ethics irreducible to collective politics when abject figures, deprived of social subjectivity and rights, become contingent agents of existential 'gift-giving' by fostering commonality without community, solidarity without unity. The psychoanalytic notion of abjection is redefined here as both the biopolitical mode of bare life and its potential for the ethical agency that opens atopian, if not utopian, networking on the edge of the global regime beyond the problematic 'soft/hard' ethics of tolerance/violence or pity/hate. This precarious yet precious abject agency is explored through a vast net of globally circulating contemporary films and a core cluster of political, ethical, and psychoanalytic philosophies. (shrink)

This volume presents a collection of about 80 very brief, accessible essays written by international experts from medicine, social sciences, and the humanities, ...

_Seeing the Light: Exploring Ethics Through Movies_ is an engaging and innovative approach to the study of philosophy and the development of moral reasoning skills. Features broad coverage of topics in ethics and moral reasoning Offers an innovative and imaginative approach to showing relevance of movies for ethical reflection Draws on a diverse selection of popular movies, foreign films, and documentaries to illustrate ethical dilemmas and character development on the big screen that has application to our lives Presents (...) coverage of major ethical theories ranging from Ethical Egoism and Cultural Relativism to Utilitarianism, Kantian Ethics, Rawls' Justice Theory, Aristotle's Virtue Ethics, and Feminist Ethics Demonstrates how film is a powerful vehicle for sharpening skills in analysis and moral reasoning Includes accompanying website. (shrink)

This book provides a comprehensive, critical overview of the turn to ethics in literature, film, and visual culture. It discusses the concept of a biovisual ethics, offering a new theory of the relation between film and ethics based on the premise that images are capable of generating their own ethical content. This ethics operates hermeneutically and materializes in cinema's unique power to show us other modes of being. The author considers a wealth of contemporary art films (...) and documentaries that embody ethical issues through the very form of the text. The ethical imagination generated by films such as The Nine Muses, Post Tenebras Lux, Amour, and Nostalgia For the Light is crucially defined by openness, uncertainty, opacity, and the refusal of hegemonic practices of visual representation. (shrink)

Available in English for the first time, The Bodies of Others investigates, through a series of close readings of several theatrical and film productions in Europe and South America, the relationship between “representation” and ethics. The main concepts are exposed through a comparative analysis of historical processes, political actions and artistic works from different periods. Thus, the dialogue between the film La carrose d'or by Jean Renoir and Rosa Cuchillo by Yuyachkani serves to address the problem of the multiple (...) meanings of representation. The dialogue between the play El Señor Galíndez by Eduardo Pavlovsky, the performance The Conquest of America by Las Yeguas del Apocalipsis and the novel 2666 by Roberto Bolaño allows the concept of an 'ethic of the body' to be addressed. Other key concepts such as identity, care, cruelty, violence, memory and testimony are considered through investigation of work such as Angelica Liddel's theatre pieces, Rabih Mroué and Lina Majdalanie's performances, Albertina Carri, Basilio Martín Patino and Apichatpong Weerasethakul's films, and Mapa Teatro's trans-disciplinary creations. (shrink)

_Business Ethics Through Movies: A Case Study Approach_ examines a wide range of ethical dilemmas, principles and moral reasoning that arise in contemporary business through a series of popular films and real-world case studies. Engages readers in learning about ethical theory by using movies and both national and international case studies in business as the vehicle for analysis and reflection Facilitates comprehension of ethical issues by showing how characters in films confront issues, make choices, and face the consequences Draws (...) from a variety of actual cases in Business Ethics – from the 1982 Tylenol poisoning and the 1989 Exxon Valdez disaster to recent examples such as the Foster Farms salmonella outbreak and the chemical spill in West Virginia Reveals the important role that ethics plays in setting the moral foundation of a business or corporation Develops critical thinking skills through applying analytical checklists to ethical dilemmas raised in films and in actual cases in Business Ethics. (shrink)

Introduction -- Physical cinema. The end of the other -- The immaterial difference : Werner Herzog revisited -- The reality of the medium. Conceptual realism in Land in trance and I am Cuba -- The work of art in progress : an analysis of delicate crime -- The ethics of desire. The realm of the senses, the ethical imperative and the politics of pleasure -- Hara and Kobayashi's "private documentaries" -- The self-performing auteur : ethics in João César (...) Monteiro. (shrink)

The Deleuzian model and the masochistic contract -- Masochism, feminine "goodness" and sacrifice -- Self-mutilation and (a)signification -- Transgressive reconfigurations -- Heterocosms, spectres and the world remade -- Postscrip.

In contemporary culture, existing audiovisual recordings are constantly reused and repurposed for various ends, raising questions regarding the ethics of such appropriations, particularly when the recording depicts actual people and events. Every reuse of a preexisting recording is, on some level, a misuse in that it was not intended or at least anticipated by the original maker, but not all misuses are necessarily unethical. In fact, there are many instances of productive misuse that seem justified. At the same time, (...) there are other instances in which the misuse shades into abuse. Documentary scholars have long engaged with the question of the ethical responsibility of documentary makers in relation to their subjects. But what happens when this responsibility is set at a remove, when the recording already exists for the taking and repurposing? Reuse, Misuse and Abuse surveys a range of contemporary films and videos that appropriate preexisting footage and attempts to theorize their ethical implications. (shrink)

Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about the human self (...) and our interaction with the world. Apart from these well-known science fiction epics, her analysis also draws on recent works, such as Inception, The Thirteenth Floor, eXistenZ, Aeon Flux, Total Recall (2012), Transcendence and TRON: Legacy. These films stimulate an engaging discussion on what makes us human, the role memory plays in understanding ourselves, and how virtual realities challenge the moral concepts that govern human relationships. (shrink)

This book examines spectral haunting through the philosophies of Levinas and Derrida. Arguing that moral obligation can appear terrifying to the complacent self, the text interrogates ethical responsibility in contemporary horror genres.

How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Cinematic Ethics: _Exploring Ethical Experience through Film_ addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional understanding and philosophical thinking. In a clear and engaging style, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory and (...) philosophy using detailed case studies of cinematic ethics across different genres, styles, and filmic traditions. Written in a lucid and lively style that will engage both specialist and non-specialist readers, this book is ideal for use in the academic study of philosophy and film. Key features include annotated suggestions for further reading at the end of each chapter and a filmography of movies useful for teaching and researching cinematic ethics. (shrink)

"The odium of doubtfulness" : or, the vicissitudes of Arendt's metaphorical thinking -- Why does Hannah Arendt lie? : or, the vicissitudes of imagination -- "A peculiar apparatus" : Kafka's thanatopoetics -- A strike of rhetoric : Benjamin's paradox of justice -- Pernicious bastardizations : Benjamin's ethics of pure violence -- The return of the human : Germany in autumn -- A politics of enmity : Müller's Germania death in Berlin.

In Time, Existential Presence and the Cinematic Image, Sam B. Girgus relates Laura Mulvey's theory of 'delayed cinema' to ideas on time and the relationship to the other in the writings of Jean-Luc Nancy, Emmanuel Levinas and Julia Kristeva, among others. The sustained tension in film between, in Mulvey's phrase, 'stillness and the moving image' enacts a drama of existential emergence. The stillness of the framed image in relation to the moving image opens 'free' cinematic time and space for a (...) fresh engagement with crucial ethical and cultural issues. With close readings of films such as The Bicycle Thieves, Two Days, One Night, The Three Burials of Melquiades Estrada, The Revenant and The Age of Innocence, this book proposes a fresh approach to reading film in the context of emerging existential presence and the ethical imperative. (shrink)

Employing a thematic approach and drawing on disciplines ranging from neurobiology to philosophy, Film and Morality examines how morality is presented in films and how films serve as a source of moral values. While the role of censorship in upholding moral standards has been considered comprehensively, the presence of moral dilemmas in films has not attracted the same level of interest. Film-makers may address moral concerns explicitly, but moral dilemmas can serve as plot devices, creating dramatic tension by providing pivotal (...) moments when characters are called upon to make life-changing decisions. Drawing on a range of well-known and neglected films mainly from Britain and America, this book provides numerous examples of how film-makers make use of morality and how audiences are invited to explore moral issues by following characters who live with the consequences of their choices. Film and Morality introduces philosophical debates on such topics as free will, conscience and the place of moral codes in everyday life, showing the relevance of film to these issues. The book presents a distinct approach to how films might be analysed. (shrink)

Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation (...) and New Black Cinema to contemporary music video to autobiography and the public image of Sidney Poitier. The book is a significant contribution to cultural studies and gender studies and critical race theory. What is distinctive about the book is the question of ethics as a question of race and gender. (shrink)

Given that numerous critics have complained about Saw’s apparently confused sense of ethics, it is surprising that little attention has been paid to how morality operates in narrative itself. Coming from a Nietzschean perspective - specifically questioning whether the lead torturer Jigsaw is a passive or a radical nihilist - I seek to rectify that oversight. This philosophical reading of the series explores Jigsaw’s moral stance, which is complicated by his hypocrisy: I contend that this underpins critical complaints regarding (...) the films’ (and frequently the audience’s) "muddled" morality. My narrative analysis reveals that Jigsaw’s values are not as confused as they may first appear to be. Despite explicitly proclaiming that his quest is to save others, his actions reveal another story (and not only because his schema is homicidal). Following the loss of his unborn son and his failed suicide attempt, Jigsaw seeks to symbolically eradicate himself: the victims he selects reflect and reify his own obsessive personality traits. In keeping with the franchises’ narrative twists – which are designed to reverse initially "obvious" meanings – I argue that Jigsaw’s proclamations have misdirected critics. His nihilism may be manifested as coerced suffering and articulated as distaste with the world, yet the series’ symbolic target is Jigsaw himself. (shrink)

Charting new routes for film ethics, _Transformational Ethics of Film_ develops a critical account of the ethics of personal transformation at work within the ‘film as philosophy’ debate.

Both Heraclitus and Democritus, as the philosophers of historia peri phuseôs, consider nature and human character, habit, law and soul as interrelated emphasizing the links between phusis, kinesis, ethos, logos, kresis, nomos and daimon. On the one hand, Heraclitus’s principle of change (panta rhei) and his emphasis on the element of fire and cosmic motion ultimately dominate his ethics reinforcing his ideas of change, moderation, balance and justice, on the other, Democritus’s atomist description of phusis and motion (...) underlies his principle of moderation and his ideas of health and measured life. In this series, particularly referring to the main principles of motion, moderation and justice, I attempt to describe a coherent pre-Socratic ethical perspective based on the Heraclitean and Democritean fragments. I explore the connections between their physics and ethics also borrowing from Nietzsche’s lectures and writings on the Pre-Socratics. I redefine such Heraclitean and Democritean concepts as harmony, order, perfection, health, self-control, contentment, cheerfulness, concord, sound judgment, wisdom, measure and balance and discuss them under the principles of motion (phusis), moderation (sophrosyne) and justice. In doing so, I also expose the relevance of the Heraclitean notion of logos (interpreting it as the underlying categorical principle of transition between phusis and ethos) in bringing together these ideas and principles. Finally, based on this pre-Socratic Weltanschauung, I assess the possibility of a coherent picture of humanity, its nature and conduct as extending from or fitting into or extending-from-when-fitting-into the cosmos of moving forces and atoms. (shrink)

In response to the significant increase of judgment and judgmentalism in contemporary film and television, 'A Critique of Judgment in Film and Television' investigates the evolving connections between the aesthetics and ethics of judgment. The volume ultimately contemplates whether we should, and can, do without judgment, questions that are just the beginning of a much-needed re-examination. The individual contributions of the collection all work towards a very specific focus on judgment that is unprecedented in its transdisciplinary composition and contemporary (...) relevance. By exploring examples of entertainment that aim to instigate judgment, 'A Critique of Judgment in Film and Television' advances the as yet underdeveloped area of research into television and philosophy. (shrink)

How do the practices of philosophy and film converge in ethical and political theory? Untimely Affects is an ethical and aesthetic interweaving of Deleuzian philosophy and close film analysis to discern how thought persists productively after the horrors of World War II. In the first extensive analysis of Chris Marker and Alain Resnais' films, Nadine Boljkovac draws on concepts and images that interrogate 'what we are now living through', in the words of Klossowski's Nietzsche. Mindful of the seen and unseen (...) 'that quicken the heart', this book of film-philosophy discerns new and deeply ethical life-affirming possibilities through its weave of cine-philosophy. As such, this book speaks directly to essences of cinema, thought and life through creative untimeliness and the idea of the 'ever new'. (shrink)

Introduction -- Tales of dominion -- The plow and the gun -- Picturing the West, 1883-1893 -- American idol, 1898 -- The end of nature -- African romance -- The dark continent -- When cowboys go to heaven -- Transplanting Africa -- Of ape-men, sex, and cannibal kings -- Adventures in monkeyland -- Nature, the film -- The world scrubbed clean.

Documenting the dark side : fictional and documentary treatments of torture and the 'war on terror' -- History lessons : what audiences (could) learn about genocide from historical drama -- The art of disappearance : remembering political violence in Argentina and Chile -- Uninvited visitors : immigration, detention and deportation in science fiction -- Architectures of enmity : the Israeli-Palestinian conflict through a cinematic lens.

Documenting the dark side : fictional and documentary treatments of torture and the 'war on terror' -- History lessons : what audiences (could) learn about genocide from historical drama -- The art of disappearance : remembering political violence in Argentina and Chile -- Uninvited visitors : immigration, detention and deportation in science fiction -- Architectures of enmity : the Israeli-Palestinian conflict through a cinematic lens.

This book rethinks the discussion of sport as a cinematic subject. Arguing for the vitality of the sports film as distinctively 'modern' genre, the book looks at its innovative potential to capture twentieth- and twenty-first-century sport in all its complexity. Written in an accessible style and illustrated throughout, the book integrates work and ideas from film studies with thinking from sports psychology, philosophy, data theory and ecocriticism. In its detailed analyses of a wide-ranging group of films, the book shows how (...) film, from fictional works to biopics to experimental documentaries, can illuminate individual sporting experience, as well as sport's wider place in modern life. (shrink)

The most powerful films have an afterlife. Their sensory appeal and their capacity to elicit involvement in story, character and conflict reaches beyond the screen to subtly reframe the way spectators view ethical issues and agents. This book questions how cinematic narratives relate to and affect ethical life.

This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators' affective and emotional engagement with film, which can function as a moral ground for one's connection to others and to the world outside the self. These traditions encompass theories of emotion, phenomenology, the philosophy of compassion, and analytic and continental ethical thinking and environmental ethics. This anthology is one of the first volumes to (...) open up a dialogue among these diverse methodologies. Contributors bring to the fore some of the assumptions implicitly shared between these theories and forge a new relationship between them in order to explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films. (shrink)

Introduction. Going digital: cinema's new age -- The reality of the index, or where does the truth lie? -- Physical presences: reality, materiality, corporeality -- Spatial coordinates: in between celluloid strips and codified pixels -- Rediscovering cinematic time -- Tracing an ethics of the movie image -- Conclusion. change: a point of constant departure.

Saving the World and Healing the Soul treats the heroic and redemptive trials of Jason Bourne, Bruce Wayne, Bella Swan, and Katniss Everdeen. The Bourne films, Christopher Nolan's Batman trilogy, the Twilight saga, and the Hunger Games series offer us stories to live into, to make connection between our personal loves and trials and a good order of the world.

Uses cinema both to depict a variety of situations in which questions of media ethics arise, and to illustrate classic and contemporary ethical theories.

Just Images: Ethics and the Cinematic charts current developments within the field of ethics and the role it plays in the study of moving images. It is the first collection of essays of its kind that brings together articles by film and media scholars from three continents, and provides multiple points of engagement of film with present and past histories, politics, myth making, and with core aspects of human subjectivity. The essays cover a wide range of topics, such (...) as the European Union; Europe during World War II and after; film genres; the Israeli-Palestinian conflict; early American history, and recent catastrophic events. The collection includes an introductory chapter by Thomas Elsaesser as well as chapters by Kristian Feigelson, Règine-Mihal Friedman, Nurith Gertz and Gal Hermoni, Anton Kaes, Gertrud Koch, Odeya Kohen-Raz, Lihi Nagler, Judd Ne'eman, Bill Nichols, and Janet Walker. The contributors offer different approaches to the issue of film and ethics and ask whether there are specific characteristics of the moving image, or of film scholarship, that relate to ethical issues; and how discussing the engagement of both narrative and documentary film with representations of the Other, trauma, terrorism, the Holocaust, and the Palestinian-Israeli conflict may contribute to the re-shaping of past and current thoughts on these subjects. (shrink)

Interactive Cinema explores cinematic practices that work to transform what is often seen as a receptive activity into a participatory, multimedia experience. Combining cutting-edge theory with updated conventional film studies methodologies, Marina Hassapopoulou presses at the conceptual limits of cinema and offers an essential road map to the rapidly evolving landscape of contemporary media.

This book forms part of the multi-disciplinary Studies in Ethics Series from Liverpool Hope University. It explores the slipperiness of ethics as a concept and demonstrates the multiplicity of intellectual inquiry within contemporary Film Studies. At first glance, â ~ethicsâ (TM) is not necessarily a subject conventionally associated with film. Film is often regarded as a form of â ~lowbrowâ (TM) popular culture, either offering bland entertainment or deliberately setting out to shock â " or, more cynically, generate (...) box office revenue â " through gratuitous inclusion of sex and violence. Certainly, there have always been a minority of films based on the stereotypically â ~ethicalâ (TM) subject of religion, but these have often generated the most controversy, from the studio system decree that it was blasphemous to represent the corporeal body of Christ to the furore surrounding Martin Scorseseâ (TM)s The Last Temptation of Christ (1988). This book shows that from the silent era to the present day, film has been inherently concerned with ethical issues. In this light, the definition of ethics that informs the volume and is taken as the starting point of each of the chapters is the notion of personal or institutional motivation; most usually because a character or industry figure makes a decision or choice based on their own moral â " or ethical â " code. Once this is defined, the ethical dimension to films is immediately evident. This book takes as its central theme the difficulty of decisions refracted through personal ethical codes, and thus recognises that what counts as ethics, or morality, is always subjective. Some of the chapters explore films which take conventionally â ~goodâ (TM) ethical standpoints, others investigate why â ~badâ (TM) decisions were made; at least one explores the celebration of practices invoking popular disgust, but all the contributions study ethical decisions within film that represent the strongly felt convictions of those involved and, moreover, address aspects of filmmaking which force the spectator to be an active and reciprocal participant in the creation of meaning, thus implicitly acknowledging that ethics are subjective and in perpetual flux rather than fixed, objective truths. (shrink)

This volume of contributed, previously unpublished essays focuses on general theoretical, meta-ethical and aesthetic issues in philosophy and the ways in which ...

The way we communicate with each other is vital to preserving the cultural ecology, or wellbeing, of a place and time. Do we listen to each other? Do we ask the right questions? Do we speak about each other with respect or disdain? The stories that we convey on screens, or what author Carl Plantinga calls 'screen stories,' are one powerful and pervasive means by which we communicate with each other. Screen Stories: Emotion and the Ethics of Engagement argues (...) that film and media studies needs to move toward an an approach to ethics that is more appropriate for mass consumer culture and the lives of its citizens. Primarily concerned with the relationship between media and viewers, this book considers ethical criticism and the emotional power of screen stories that makes such criticism necessary. The content we consume-- from television shows and movies to advertisements-- can significantly affect our welfare on a personal and societal level, and thus, this content is subject to praise and celebration, or questioning and even condemnation. The types of screen stories that circulate contribute to the cultural ecology of a time and place; through shared attention they influence what individuals think and feel. Plantinga develops a theory of the power of screen stories to affect both individuals and cultures, asserting that we can better respond ethically to such media if we understand the sources of its influence on us. (shrink)

Introduction : time, film, and the ethical vision of Emmanuel Levinas. American transcendence : Levinas and a short history of an American idea in film -- Frank Capra and James Stewart : time, transcendence, and the other -- The changing face of American redemption : Henry Fonda, Marilyn Monroe, Paul Newman, and Denzel Washington -- Sex, art, and Oedipus : The unbearable lightness of being -- Fellini and La dolce vita : documentary, decadence, and desire -- Antonioni and L'avventura : (...) transcendence, the body, and the feminine. (shrink)

This book considers ethical issues arising in professional and business settings and the role of individuals making decisions and coping with moral dilemmas. It starts by elaborating on critical thinking and on normative ethical theories, subsequently presenting the structure and cinematic elements of narrative film. These two avenues are tools for evaluating films and for discussions on various ethical problems in contemporary business, including: the corporate and banking financial machinations (greed, fraud, social responsibility); workplace ethical challenges (harassment, violence, inequity, inequality); (...) professional and business ethical challenges (corruption, whistleblowing, outsourcing and downsizing); and personal responsibility and identity challenges due to career pressures, loss of privacy and cyber harassment, and job structure changes in light of changing technology. Readers can benefit from engagement in filmic narratives, as a simulated environment for developing a stance towards ethical challenges. (shrink)

Cinema and Agamben brings together a group of established scholars of film and visual culture to explore the nexus between the moving image and the influential work of Italian philosopher Giorgio Agamben. Including two original texts by Agamben himself, published here for the first time in English translation, these essays facilitate a unique multidisciplinary conversation that fundamentally rethinks the theory and praxis of cinema. In their resourceful analyses of the work of artists such as David Claerbout, Jean-Luc Godard, Philippe Grandrieux, (...) Michael Haneke, Jean Rouch, and others, the authors put to use a range of key concepts from Agamben's rich body of work, like biopolitics, de-creation, gesture, potentiality and profanation. Sustaining the eminently interdisciplinary scope of Agamben's writing, the essays all bespeak the importance of Agamben's thought for forging new beginnings in film theory and for remedying the elegiac proclamations of the death of cinema so characteristic of the current moment. (shrink)

Cinema and Agamben brings together a group of established scholars of film and visual culture to explore the nexus between the moving image and the influential work of Italian philosopher Giorgio Agamben. Including two original texts by Agamben himself, published here for the first time in English translation, these essays facilitate a unique multidisciplinary conversation that fundamentally rethinks the theory and praxis of cinema. In their resourceful analyses of the work of artists such as David Claerbout, Jean-Luc Godard, Philippe Grandrieux, (...) Michael Haneke, Jean Rouch, and others, the authors put to use a range of key concepts from Agamben's rich body of work, like biopolitics, de-creation, gesture, potentiality and profanation. Sustaining the eminently interdisciplinary scope of Agamben's writing, the essays all bespeak the importance of Agamben's thought for forging new beginnings in film theory and for remedying the elegiac proclamations of the death of cinema so characteristic of the current moment. (shrink)

Introduction : cinema, memory, modernity: the return of memory as film -- No escape from time : memory and redemption in the international postwar art film -- The "crisis" of memory : "traumatic identity" in the contemporary memory film -- "Global memory" : cinema as lingua franca and the commodification of the image -- The eye of history : memory, surveillance and ethicality in the contemporary art film -- "Prosthetic memory" and transnational cinema : globalized identity and narrative recursivity in (...) City of God -- Conclusion: remembering to forget: the catachreses of modernity. (shrink)

Time Tells is a grand study of time, technology, performance, the attention economy, and comedy. Using the cinematic time-jump, "a numerical shorthand for a fated intermission," to weave a narrative of chronopolitics, memoir, and cultural study, Masha Tupitsyn constructs a unique literary and visual phenomenology on the loss of time, presence, and attention in the digital age. Structured into two interlocked inquiries--Time and Acting--Time Tells focuses on the internet to talk about the ethics of presence and attention, comedy to (...) talk about timing and the language of critique, and lying masculinity, the double, and acting to talk about performance and the reign of falsehood. Both volumes intersect to examine our inability to experience coherence and integration in the post-truth era. In the first volume, Time, Tupitsyn covers wide-ranging cultural touchstones such as the '90s TV show Felicity, Hitchcock's Vertigo, Luca Guadagnino's Call Me by Your Name, Joan Didion's The Year of Magical Thinking, Pretty Woman, Wong Kar-wai's 2046, David Fincher's Zodiac, Jean-Luc Godard, the Beastie Boys, Wim Wenders, the art of style, memory and music in the post-internet age, and the lost ontology of cinema. Using what Tupitsyn terms "screen-shot criticism," Time Tells makes innovative critical thinking accessible to anyone interested in American culture today. (shrink)

Skirting the Ethical offers highly original readings of six works, each noted for its politico-ethical stance. The first four (Sophocles' Antigone , Plato's Symposium and Republic and Hamann's "Aesthetica in nuce") have a recognized and honored place in the canon. The last two, Sebald's The Emigrants and Jane Campion's film The Piano , are exemplary for our contemporary scene. Nevertheless, the straightforward assumptions about justice, divine and state power, the good, and identity politics that every reader or viewer inevitably comes (...) upon are disrupted when one takes into account the role of language: both the way in which language is talked about and the way in which it performs. What emerges is a non-prescriptive ethics of another order that offers a resistance to power and simplistic conceptualizations of truth, an emancipation from the "must-be" that implies an ever-to-be-renewed renegotiation—a responsability that has much to do with the act of critique or interpretation. (shrink)