UID:
edocfu_9958352080702883
Umfang:
1 online resource (272 p.) :
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40 b&w photographs
ISBN:
9780231539319
Inhalt:
D. N. Rodowick, Glen A. Lloyd Distinguished Service Professor at the University of Chicago, and author of Philosophy's Artful Conversation (Harvard University Press, 2015):In The Politics and Poetics of Cinema Realism, Hermann Kappelhoff offers an engaging and thoughtful account of cinematic experience framed by deeply original readings of Richard Rorty's pragmatist account of solidarity and community, Jacques Rancière's writings on politics and aesthetic experience, and Gilles Deleuze's philosophy of film. Here Kappelhoff rethinks the concept of realism as a lived practice within which life and art, politics and poetics, indeed reality and image, are experienced as inseparable activities that dynamically shape our sense of the worlds and communities we live in. In so doing, he also produces new and convincing accounts of the theories of Sergei Eisenstein and Siegfried Kracauer, as well as the films of Visconti, Fassbinder, and Almodòvar, and others. Thomas Elsaesser, Columbia University:Hermann Kappelhoff, one of Germany's most accomplished film scholars, endowed with a uniquely philosophical grasp of history in the tradition of Siegfried Kracauer, offers in The Politics and Poetics of Cinematic Realism a precise re-assessment of realism, across a historical spectrum that ranges from Eisenstein and the German New Objectivity to Visconti and Kubrick, while also able to enlist Fassbinder and Almodovar as realists of the body and of communities to come. Gerd Gemünden, author of Continental Strangers: German Exile Cinema, 1933-1951:Since the 1920s, the cinema has been closely associated with the deve
Inhalt:
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.
Anmerkung:
Frontmatter --
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CONTENTS --
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PREFACE AND ACKNOWLEDGMENTS --
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1 POETICS AND POLITICS --
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2 BEFORE THE WAR: The Avant-garde, Film, and the Utopia of Art --
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3 AFTER THE WAR: Cinema as the Site of Historical Consciousness --
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4 AFTER ’68: The Politics of Form --
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5 BEYOND CLASSICAL HOLLYWOOD CINEMA --
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6 A NEW SENSITIVITY --
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NOTES --
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BIBLIOGRAPHY --
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INDEX --
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Backmatter
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In English.
Sprache:
Englisch
URL:
https://www.degruyter.com/doi/book/10.7312/kapp17072
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