This book is a contribution to an aesthetics of cinema rooted in Marxist theory. Rather than focusing on the role that certain films, or the cinema as an institution, might play in political consciousness, the book asks a different question: how can the subject of politics in film be thought?
This book is a contribution to an aesthetics of cinema rooted in Marxist theory. Rather than focusing on the role that certain films, or the cinema as an institution, might play in political consciousness, the book asks a different question: how can the subject of politics in film be thought?
Sulgi Lie teaches in the Division of Film Studies at the Freie Universität Berlin. He has co-edited a German anthology of Jacques Rancière's film writings and has recently completed a book on comedy and critical theory with the title Gehend kommen. Adornos Slapstick (Come Walking: Adorno's Slap stick) to be published in early 2021 by Vorwerk 8 press. Daniel Fairfax is Assistant Professor of Film Studies at the Goethe-Universität Frankfurt and an editor of the online film journal Senses of Cinema.
Inhaltsangabe
New Preface to the English Edition Preface Part I: The Absent Cause of Film: On the Theory of Enunciation and Suture Introduction 1. On Enunciation in Apparatus Theory 1.1 Imaginary Enunciation or the Place of the Spectator: Christian Metz (1) 1.2 Voyeuristic Enunciation or the Place of the Author: Raymond Bellour 1.3 The Double Énoncé or the Division of the Filmic Image: World Projection as Rear-projection in Marnie 2. On Enunciation without an Enunciator: Suture 2.1 Negative Enunciation or the Place of the Absent One: Jean-Pierre Oudart 2.2 Masked Enunciation the Place of the Apparatus: Daniel Dayan 2.3 The Schizoid Suture or the Division of Body and Voice: Acousmatics as Schismatics in Psycho 3. On the Pragmatics of Enunciation 3.1 Deictic Enunciation or Film as Speech Act: Francesco Casetti 3.2 Impersonal Enunciation or Film as Writing: Christian Metz (2) 3.3 Looking at the Camera or the Theatricalization of Film: Jean-Luc Godard 4. On the Acousmatics of Enunciation: Back to the Suture 4.1 External Enunciation or the Triumph of the Gaze over the Eye: Jacques Lacan/Kaja Silverman 4.2 Extimate Enunciation or the Gaze as Bodiless Organ: Joan Copjec/Slavoj iek 4.3 From the Hors-champ to the Hors-lieu or the Transsubjective Point of View: The Unrepresentable in Rossellini and Antonioni 5. The Political Uncanny or the Return of the Repressed: Caché Part II: Allegories of Totality: Fredric Jameson's Political Film Aesthetics Introduction 6. The Dialectics of Mass Culture 6.1 Reification and Utopia: Jaws and The Godfather 6.2 Class and Allegory: Dog Day Afternoon 6.3 The Political Unconscious 7. Cartographies of the Postmodern 7.1 Nostalgia und Historicism 7.2 The Totalization of Totality: Cognitive Mapping 7.3 The Implosion of the Referent: Blow-Up 8. Geopolitical Aesthetics 8.1 Totality as Conspiracy 8.2 Conspirational Enunciation or the Acousmatics of the Paranoia Film 8.3 Digital Cinema in the Age of Globalization: Miami Vice 9. The Political Uncanny or the Return of Domination: The Shining Filmography Bibliography Index.
New Preface to the English Edition Preface Part I: The Absent Cause of Film: On the Theory of Enunciation and Suture Introduction 1. On Enunciation in Apparatus Theory 1.1 Imaginary Enunciation or the Place of the Spectator: Christian Metz (1) 1.2 Voyeuristic Enunciation or the Place of the Author: Raymond Bellour 1.3 The Double Énoncé or the Division of the Filmic Image: World Projection as Rear-projection in Marnie 2. On Enunciation without an Enunciator: Suture 2.1 Negative Enunciation or the Place of the Absent One: Jean-Pierre Oudart 2.2 Masked Enunciation the Place of the Apparatus: Daniel Dayan 2.3 The Schizoid Suture or the Division of Body and Voice: Acousmatics as Schismatics in Psycho 3. On the Pragmatics of Enunciation 3.1 Deictic Enunciation or Film as Speech Act: Francesco Casetti 3.2 Impersonal Enunciation or Film as Writing: Christian Metz (2) 3.3 Looking at the Camera or the Theatricalization of Film: Jean-Luc Godard 4. On the Acousmatics of Enunciation: Back to the Suture 4.1 External Enunciation or the Triumph of the Gaze over the Eye: Jacques Lacan/Kaja Silverman 4.2 Extimate Enunciation or the Gaze as Bodiless Organ: Joan Copjec/Slavoj iek 4.3 From the Hors-champ to the Hors-lieu or the Transsubjective Point of View: The Unrepresentable in Rossellini and Antonioni 5. The Political Uncanny or the Return of the Repressed: Caché Part II: Allegories of Totality: Fredric Jameson's Political Film Aesthetics Introduction 6. The Dialectics of Mass Culture 6.1 Reification and Utopia: Jaws and The Godfather 6.2 Class and Allegory: Dog Day Afternoon 6.3 The Political Unconscious 7. Cartographies of the Postmodern 7.1 Nostalgia und Historicism 7.2 The Totalization of Totality: Cognitive Mapping 7.3 The Implosion of the Referent: Blow-Up 8. Geopolitical Aesthetics 8.1 Totality as Conspiracy 8.2 Conspirational Enunciation or the Acousmatics of the Paranoia Film 8.3 Digital Cinema in the Age of Globalization: Miami Vice 9. The Political Uncanny or the Return of Domination: The Shining Filmography Bibliography Index.
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