The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

This chapter surveys foundational concepts in the history of phenomenology for the purpose of highlighting their relevance for key contemporary issues in the philosophy of film. A central argument concerns phenomenology’s capacity for unraveling the ontology of film, given phenomenology’s emphasis on accounting for the ontology of phenomena through description based in first-person experience. On this ground, the chapter defends the claim that film’s ontology stems from the projective intentionality of the film viewer, where the communicative nature of embodied vision (...) also figures into play. The principal phenomenological frameworks taken up are those of Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty, as well as the work of contemporary film scholar Vivian Sobchack. (shrink)

Motion pictures - Philosophy ; Motion pictures -- History and criticism ; Motion picture plays -- History and criticism.

Introduction -- Newton's laws of motion versus nature's -- The continuity conundrum -- Continuity and linearity : confusion twice confounded -- From illusions of precision and reproducibility in natural science to delusions of normalcy in social science -- Mutability -- Laws of motion : natural law and questions of mutability -- Essential and intangible role of temporal factors : a detailed example -- Detaching Canada's East Coast Fishery from its history : causes and consequences -- Mishandling temporal factors (...) : a problem of method -- Social science and the problem of linearised time -- The dialectic of nature and its usefulness for the social sciences -- Placing Tlinear on life support -- Merchant's capital : key historic intangible of the East Coast Fishery -- The 800-pound gorilla. (shrink)

This book is about film's encounter with love throughout the medium's history. It is also about the philosophy of love... [it] outlines a new metaphysics and ontology of love as a reciprocal erotic relationship. This study argues that film's special narrative language is particularly well suited to depicting love in this way. It begins with early silent directors, such as Joseph von Sternberg, and concludes with contemporary filmmakers, such as Sophia Coppola; it also compares classical French and American love films (...) of the 1940s with modernist films by Luis Buñuel, François Truffaut, and Wong Kar Wai, amongst many others"--Page [4] of cover. (shrink)

From its beginnings, some of German film's most prominent genres and directors have focused on the natural world and its transformations by humans. Heimat films, "city symphonies," mountain films, and rubble films all blend the boundary between landscape documentary and fiction film. Yet German film studies has been slow to adopt an environmental focus, concentrating (understandably) on its subject matter's political implications. This book reveals critical connections between German film, sociopolitical context, and environment, showing it to have been a creative (...) catalyst for the social and ecological transformation of the Anthropocene. The book first considers the interplay between German film and environmental history in films and discourses of Heimat. Weimar-era films such as E. A. Dupont's Die Geierwally (1921), Carl Ludwig Achaz-Duisberg's Sprengbagger 1010 (1929), and Phil Jützi's Hunger in Waldenburg (1929) document and create a forum for discussing environmental change. The book then looks at film as a visual archive of and catalyst for infrastructure development, focusing on Metropolis (Fritz Lang, 1927), the mountain films of Arnold Fanck, and the Berlin films Stadt der Millionen (Adolf Trotz, 1925), Berlin: Die Sinfonie der Grossstadt (Walter Ruttmann, 1927), and Menschen am Sonntag (1930). Nazi-era and postwar films are also examined. By exploring German film history alongside environmental history and theory, this book provides a case study of the power of film within processes of environmental transformation. (shrink)

Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the "death of cinema" debate, Film History as Media Archaeology​ presents a robust argument for cinema's current status as a new epistemological object of interest to philosophers, while also examining the presence of moving images in museum and art spaces as a challenge for art history. The study is the fruit of twenty years of research and writing at the interface of film history, media (...) theory, and media archaeology by one of the acknowledged pioneers of new film history and media archaeology. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction as we experience them today. (shrink)

In this rich cultural history, Pamela Robertson Wojcik examines America's ambivalent and shifting attitude toward homelessness through a close study of film cycles from five distinct historical moments that show characters as unhomed and placeless, mobile rather than fixed: failing, resisting, or opting out of the mandate for a home of one's own. From the tramp films of the Silent Era to the Oscar-winning Nomadland in 2021, Wojcik shows how film cycles reveal a tension in the American imaginary between viewing (...) homelessness as, on the one hand, deviant or threatening, and, on the other, emblematic of freedom and independence. Blending social history with insights drawn from a complex array of films, both canonical and fringe, Wojcik effectively 'unhomes' dominant narratives that cast aspirations for success and social mobility as the focus of American cinema, reminding us that genres of precarity have been central to the American cinema (and American story) all along. (shrink)

The major essays of the distinguished and prolific Australian-born film critic Adrian Martin have long been difficult to access, so this anthology, which collects highlights of his work in one volume, will be welcomed throughout film studies. Martin offers in-depth analysis of many genres of films while providing a broad understanding of the history of cinema and the history of film criticism and culture. These vibrant, highly personal essays, written between 1982 and 2016, balance breadth across cinema theory with almost (...) encyclopedic detail, ranging between aesthetics, cinephilia, film genre, criticism, philosophy, and cultural politics. Mysteries of Cinema circumscribes a special cultural period that began with the dream of critique as a form of poetic writing, and today arrives at collaborative experiments in audiovisual essays. Throughout these essays, Martin pursues a particular vision of what cinema has been, what it is, and what it still could be. (shrink)

The body at close range: volume and the unlistenable in Catherine Breillat's Anatomy of Hell -- Sonic subjection: Gaspar Noé's Irreversible and the dystopian limits of the resonant body -- A stranger everywhere: the écho-monde of Tony Gatlif's Exiles -- Feedback, asynchronicity, and sonic sociabilities: Arnaud des Pallière's Adieu -- Listening at the limit: non-human noise in Lars von Trier's Antichrist -- Listening to things: Foley as "alien phenomenology" and Peter Strickland's Berberian sound studio.

Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects (...) the major European ÒwavesÓ and figures ; Latin American Third Cinemas ; radical art and the avant-garde ; and world cinemas. It also contains previously untranslated manifestos co-written by figures including Bolla’n, Debord, Hermosillo, Isou, Kieslowski, PainlevŽ, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture. (shrink)

Cinema and the automatic sweetheart. The work of art as an automatic sweetheart. Automatic sweethearts without names: the place of films in the world of art -- Cinema and new realism. Realism and trasparency in film. What is new in realism? Cinema, philosophy and the rediscovery of reality -- Cinema and documediality. The movie theatre of Babel. Toward a new ontology of film. The digital secret of the moving image -- Cinema and the ontology of the cell phone. Double signature. (...) An ontology for mobile movies. Film me, stupid. On Eco on mobile phones and stupidity -- Cinema and animality. Humans, animals, machines. Anthropocentrism and science fiction cinema. (shrink)

During the last three decades, Europe has undergone numerous periods of economic and political instability. The process of European integration, once hailed as a beacon of a peaceful co-operation between many, if not all, European nations appears to be stagnating, giving rise to notoriously more frequent manifestations of xenophobic violence, nationalism and right-wing fundamentalism. This book evaluates the portrayal of the migrant Other in selected examples of contemporary French and German cinema from the period 1989-2020 in the context of the (...) ongoing debate about European identity and its socio-political significance. It focuses on the films of some of Europe's most prolific contemporary filmmakers, such as Michael Haneke, Claire Denis and Fatih Akin. It examines cinema's importance not only in reference to various theoretical evaluations of the concept of European identity, but also many notable events that have taken place in Europe in the last thirty years, such as the collapse of the 'Iron Curtain' in 1989, the historical expansion of the European Union in 2004, the migration 'crisis' of 2015, 'Brexit' and the war in Ukraine. (shrink)

Vidal intertwines fond recollections of films savored in the movie palaces of his Washington, D.C., boyhood with strands of autobiography and trenchant observations about American politics. Never before has the renowned author revealed so much about his own life or written with such immediacy about the forces shaping America. 26 halftones.

Bordwell scrutinizes the theories of style launched by various film historians and celebrates a century of cinema. The author examines the contributions of many directors and shows how film scholars have explained stylistic continuity and change.

'The Anthem Handbook of Screen Theory' offers readers a unique survey of the new horizons of film and media theory, focusing on the applicability of screen theories and updating the field for new social, cultural and geopolitical contexts.

From the 1910s to the emergence of structuralism and post-structuralism in the 1960s, the writings of John Grierson, Siegfried Kracauer, Andre Bazin and Georg Lukacs dominated realist film theory. In this critical anthology, the first collection to address their work in one volume, a wide range of international scholars explore the interconnections between their ideas and help generate new understandings of this important, if neglected, field. Challenging preconceptions about 'classical' theory and the nature of realist representation, and in the process (...) demonstrating how this body of work can be seen as a cohesive theoretical model, this invaluable collection will help return the realist paradigm of film theory to the forefront of academic enquiry. ". (shrink)

A post-photographic cinema. The myth of "the myth of total cinema" -- The matrix: "a prison for your mind" -- The new realness -- Quid est veritas: the reality ofunspeakable suffering -- Social network -- Postscript: total cinema redux -- A chronicle of theBush years. 2001: after September 11 -- 2002: the war on terror begins -- 2003: invading Iraq-- 2004: Bush's victory -- 2005: looking for the Muslim world -- 2006: September 11, theanniversary -- 2007: what was Iraq and (...) where? -- 2008: the election -- Notes toward a syllabus.In praise of love (Jean-Luc Godard, 2001) -- Avalon (Mamoru Oshii, 2001) -- Avant-garde goesdigital: Corpus callosum, Cotton Candy, and Razzle Dazzle -- Russian ark (AlexanderSokurov,2002) -- Ten (Abbas Kiarostami, 2002) -- Goodbye Dragon Inn (Tsai Ming-Liang,2002) -- Dogville (Lars Von Trier, 2003) -- The world (Jia Zhangke, 2004) -- Battle in heaven(Carlos Reygadas, 2005) -- The death of Mr. Lazarescu (Cristi Puiu, 2005) -- Day night daynight (Julia Loktev, 2006) -- Southland tales (Richard Kelly, 2006) -- Inland empire (DavidLynch, 2006) -- Between darkness and light (after William Blake) (Douglas Gordon, 1997/2006)-- Lol (Joe Swanberg, 2006) -- Flight of the red balloon (Hou Hsiao-Hsien, 2007) -- Hunger(Steve McQueen, 2008) -- Opening ceremonies, Beijing Olympics (August 8, 2008) -- Carlos(Olivier Assayas, 2010) -- The strange case of Angelica (Manoel de Oliveira, 2010) -- Onceupon a time in Anatolia (Nuri Bilge Ceylan, 2011). (shrink)

Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. It coalesces twentieth-century ideas of film as thought (from Hugo Münsterberg to Gilles Deleuze) into a practical theory of "film-thinking," arguing that film style conveys poetic ideas through a constant dramatic "intent" about the characters, spaces, and events of film. Discussing contemporary filmmakers such as Béla Tarr and the Dardenne brothers, this timely contribution to the study of film and philosophy will provoke debate among audiences and (...) filmmakers alike. FILMOSOPHY ® is a registered U.S. trademark owned by Valentin Stoilov (www.filmosophy.com) for educational services in the field of motion picture history theory and production. Mr. Stoilov is not the source or origin of this book and has not sponsored or endorsed it or its author. (shrink)

In the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded (...) upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day. (shrink)

If narrating—the feeling of stories, fictional or otherwise—is an inherent possibility of motion pictures , then Kracauer's distinction between the realist and formative tendencies must be questioned and, in effect, the two must be synthesized. Wasn't the practical problem for the earliest films how to construct a formative sequence of events within an absolutely real-looking visual context? Wasn't the paradox of film narrative the combination of an obviously unreal sequence of events with an obviously real visual and social (...) setting? And isn't that paradox the most intriguing and complex problem of narrative film today, when the visual and social setting have become increasingly real-seeming? And doesn't this paradox have something to do with the fact that narrative film today seems richer and more important than it did a decade ago, at a time when various admirers of both cinéma vérité and cinéma pur had announced the death of fictional filmed narrative? Kracauer's realist aesthetic, concentrating exclusively on the photographic surfaces of things in the material world , overlooks this paradox altogether. It overlooks the fact—extremely relevant to the cinema—that the term "realist" means one thing in its common application to a painting or photograph and quite another thing in its equally common application to a novel or play. A realistic visual image is one that is said to "look like," "resemble," "reproduce," "iconically represent" the surfaces of the visual world. We see—or think we see—in a painting what we see—or think we see—in the real world.1 But a realistic story is one that is said to chronicle "credibly," "probably," and "believably" the way we think people feel, think, or act, the way things happen, and the reasons they happen, all of which are consistent with the reader-audience-society's beliefs about psychology, motivation, and probability. The standard of one sense of realism is primarily visual while the standard of the other is primarily psychological. One might see the early films groping, then, toward a synthesis of the visual realism of late-nineteenth-century painting/photography with the psychological realism of late-nineteenth-century novel/drama. · 1. This equivocation deliberately avoids the question of whether there is anything actually real about what one sees in a painting or photograph. The fact is that a very large number of viewers operate in this assumption because they think there is something real about what they see, despite the theoretical imprecision of their holding such a belief. Gerald Mast is the author of, among other works, A Short History of the Movies, The Comic Mind: Comedy and the Movies, and Film/Cinema/Movie: A Theory of Experience. His previous contribution to Critical Inquiry, "What Isn't Cinema?," appeared in the Winter 1974 issue. (shrink)

It is estimated that about one and a half billion hours of moving images were produced in 1999, twice as many as a decade before. If that rate of growth continues, one hundred billion hours of moving images will be made in the year 2025. In 1895 there were just above forty minutes of moving images to be seen, and most of them are now preserved. Today, for every film made, thousands of them disappear forever without leaving a trace. Meanwhile, (...) public and private institutions are struggling to save the film heritage with largely insufficient resources and ever increasing pressure from the commercial world. Are they wasting their time? Is the much feared and much touted Death of Cinema already occurring before our eyes? Is digital technology the solution to the problem, or just another illusion promoted by the industry? In a provocative essay designed as a collection of aphorisms and letters, Paolo Cherchi Usai brings an impassioned scrutiny to bear on these issues with a critique of film preservation, an indictiment of the crimes perpetuated in its name, and a proposal to give a new analytical framework to a major cultural phenomenon of our time. The Death of Cinema is published in Italian as L'ultimo spettatore . Sulla distruzione del cinema 1999, Editore Il Castoro. (shrink)

本书以文化元典、历史嬗变、思维原型、集体无意识为切入点,对后轴心时代的中国社会及其文化的进一步探究,可与作者的另一部著作《语言的密码——轴心时代的中国思想探源》参照阅读。.

The purpose of this paper is to examine the ontological effects of digital technology, and determine whether digital films, traditional films, and pre-traditional motion pictures belong to the same category. I begin by defining the parameters of my inquiry, and then consider the two most significant consequences of the new technology. §2 proposes a decisive refutation of the causal relationship between reality and photography. §3 identifies an end to the dominance of photorealistic film over animation, and argues for (...) an inversion of that relationship, whereby animation is paramount. Finally, I consider the implications of these consequences for film ontology, compare theories, and conclude in favour of Berys Gaut, for whom digital film is the latest incarnation of a history of moving pictures that stretches back for centuries. (shrink)

From Inception to The Lake House, moviegoers are increasingly flocking to narratologically complex puzzle films. These puzzle movies borrow techniques--like fragmented spatio-temporal reality, time loops, unstable characters with split identities or unreliable narrators--more commonly attributed to art cinema and independent films. The essays in Hollywood Puzzle Films examine the appropriation of puzzle film techniques by contemporary Hollywood dramas and blockbusters through questions of narrative, time, and altered realities. Analyzing movies like Source Code, The Butterfly Effect, Donnie Darko, Déjà Vu, and (...) adaptations of Philip K. Dick, contributors explore the implications of Hollywood's new movie mind games. (shrink)

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)

Introduction : heroes like us -- Hegel, the western and classical modernity -- The myth and the frontier -- The hero in the epochs of mythical and the bourgeois -- The end of the individual -- The end of the subject -- Romanticism, crime and agonal modernity -- The return of tragedy in modernity -- Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity -- Heroic individualismus and metaphysics -- Superhumans, supermen, cyborgs -- Heroes of the (...) future. (shrink)

Hegel, the western and classical modernity. The myth and the frontier ; The hero in the epochs of mythical and the bourgeois ; The end of the individual ; The end of the subject -- Romanticism, crime and agonal modernity. The return of tragedy in modernity ; Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity. Heroic individualismus and metaphysics ; Superhumans, supermen, cyborgs ; Heroes of the future.

1. Pusan lok'ŏllit'i wa lok'ŏl munhwa yulli -- 2. Han'guk lok'ŏllit'i wa lok'ŏl munhwa yulli -- 3. Asia lok'ŏllit'i wa lok'ŏl munhwa yulli.

The study of perception and the role of the senses have recently risen to prominence in philosophy and are now a major area of study and research. However, the philosophical history of the senses remains a relatively neglected subject. Moving beyond the current philosophical canon, this outstanding collection offers a wide-ranging and diverse philosophical exploration of the senses, from the classical period to the present day. Written by a team of international contributors, it is divided into six parts: -/- Perception (...) from Non-Western Perspectives Perception in the Ancient Period Perception in the Medieval Latin/Arabic Period Perception in the Early Modern Period Perception in the Post-Kantian Period Perception in the Contemporary Period. The volume challenges conventional philosophical study of perception by covering a wide range of significant, as well as hitherto overlooked, topics, such as perceptual judgment, temporal and motion illusions, mirror and picture perception, animal senses and cross-modal integration. By investigating the history of the senses in thinkers such as Plotinus, Auriol, Berkeley and Cavendish; and considering the history of the senses in diverse philosophical traditions, including Chinese, Indian, Byzantine, Greek and Latin it brings a fresh approach to studying the history of philosophy itself. -/- Including a thorough introduction as well as introductions to each section by the editors, The Senses and the History of Philosophy is essential reading for students and researchers in the history of philosophy, perception, philosophy of mind, philosophical psychology, aesthetics and eastern and non-western philosophy. It will also be extremely useful for those in related disciplines such as psychology, religion, sociology, intellectual history and cognitive sciences. (shrink)

[1o. v.] Introdução geral e prolegómenos -- 2o. v. Fascinação e distanciação.

In The Othering of Women in Silent Film: Cultural, Historical, and Literary Contexts, Barbara Tepa Lupack explores the rampant racial and gender stereotyping in early cinema and demonstrates how that imagery helped shape American attitudes and practices.

Performing Difference is a compilation of seventeen essays from some of the leading scholars in history, criticism, film, and theater studies. Each author examines the portrayal of groups and individuals that have been traditionally marginalized or excluded from dominant historical narratives. As a meeting point of several fields of study, this book is organized around three meta-themes: race, gender, and genocide. Included are analyses of films and theatrical productions from the United States, as well as essays on cinema from Southern (...) and Central America, Europe, and the Middle East. Topically, the contributing authors write about the depiction of race, ethnicities, gender and sexual orientation, and genocides. This volume assesses how the performing arts have aided in the social construction of the "other" in differing contexts. Its fundamental premise is that performance is powerful, and its unifying thesis is that the arts remain a major forum for advancing a more nuanced and humane vision of social outcasts, not only in the realm of national imaginations, but in social relations as well."--Jacket. (shrink)

Gilles Deleuze published two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Engaging with a wide range of film styles, histories and theories, Deleuze's writings treat film as a new form of philosophy. This ciné-philosophy offers a startling new way of understanding the complexities of the moving image, its technical concerns and constraints as well as its psychological and political outcomes. Deleuze and Cinema presents a step-by-step guide to the key concepts behind Deleuze's revolutionary theory (...) of the cinema. Exploring ideas through key directors and genres, Deleuze's method is illustrated with examples drawn from American, British, continental European, Russian and Asian cinema. Deleuze and Cinema provides the first introductory guide to Deleuze's radical methodology for screen analysis. It will be invaluable for students and teachers of film theory, film history and film forms. (shrink)

_The Impertinent Self_ provides a philosophical and cultural theory of modernity by constructing a parallel between the philosophical self and the hero figure found in certain cinematic genres. Früchtl argues that modernity is not unified and should be conceived as a phenomenon consisting of three strata: the classical, the agonist, and the hybrid. He demonstrates this by following a dual trajectory: the shift in the concept of the self from German idealism to Romanticism and so-called postmodernism, and the evolution of (...) the hero figure in the Western and in crime and science fiction movies. Früchtl takes a clear position within the ongoing discussion in the humanities and social sciences about modernity, a discussion that, in light of the work of Foucault, Lyotard, and Habermas, has too often neglected the importance of Romanticism. Similarly, he embraces the role of film and popular culture in modern society. (shrink)

In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of ...