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The Politics and Poetics of Cinematic Realism / Hermann Kappelhoff.

By: Contributor(s): Material type: TextTextSeries: Columbia Themes in Philosophy, Social Criticism, and the ArtsPublisher: New York, NY : Columbia University Press, [2015]Copyright date: ©2015Description: 1 online resource (280 p.) : ‹B›40 b&w photographs‹/B›Content type:
Media type:
Carrier type:
ISBN:
  • 9780231170727
  • 9780231539319
Subject(s): DDC classification:
  • 791.436581 23
LOC classification:
  • PN1995.9.P6 K275 2015
  • PN1995.9.P6 K275 2016
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- CONTENTS -- PREFACE AND ACKNOWLEDGMENTS -- 1 POETICS AND POLITICS -- 2 BEFORE THE WAR -- 3 AFTER THE WAR -- 4 AFTER '68 -- 5 BEYOND CLASSICAL HOLLYWOOD CINEMA -- 6 A NEW SENSITIVITY -- NOTES -- BIBLIOGRAPHY -- INDEX -- Backmatter
Summary: 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.

Frontmatter -- CONTENTS -- PREFACE AND ACKNOWLEDGMENTS -- 1 POETICS AND POLITICS -- 2 BEFORE THE WAR -- 3 AFTER THE WAR -- 4 AFTER '68 -- 5 BEYOND CLASSICAL HOLLYWOOD CINEMA -- 6 A NEW SENSITIVITY -- NOTES -- BIBLIOGRAPHY -- INDEX -- Backmatter

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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.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)