Frontmatter -- Contents -- Acknowledgements -- Abbreviations -- Translators’ Note -- I. Openings -- 1. Setting the Scene -- 2. Why Lyotard and Film? -- 3. Cinema Lyotard: An Introduction -- II. Lyotard’s Essays on Film -- 4. Acinema -- 5. The Unconscious as Mise-en-scène -- 6. Two Metamorphoses of the Seductive in Cinema -- 7. The Idea of a Sovereign Film -- III. Approaches and Interpretations -- 8. Imaginary Constructs? A Libidinal Economy of the Cinematographic Medium -- 9. Lyotard and the Art of Seduction -- 10. Authorisation: Lyotard’s Sovereign Image -- IV. Applications and Extensions -- 11. Discourse, Figure, Suture: Lyotard and Cinematic Space -- 12. On Dialogue as Performative Art Criticism -- 13. Give Me a Sign: An Anxious Exploration of Performance on Film, Under Lyotard’s Shadow -- 14. How Desire Works: A Lyotardian Lynch -- 15. Aberrant Movement and Somatography in the Hysterical Comedies of Roméo Bosetti -- Appendices -- 1. Lyotard’s Film Work -- 2. Memorial Immemorial -- 3. Filmography -- 4. Bibliography -- Notes on Contributors -- Index

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The first major survey of Lyotard’s contribution to film theory, combining his original essays with new critical works by leading scholarsThis collection presents, for the first time in English, Jean-François Lyotard’s major essays on film: 'Acinema', 'The Unconscious as Mise-en-scène', 'Two Metamorphoses of the Seductive in Cinema' and 'The Idea of a Sovereign Film'. Then, eight critical essays by philosophers and film theorists examine Lyotard's film work and influence across two sections: 'Approaches and Interpretations' and 'Applications and Extensions'. These works are complemented by an introductory essay by leading French scholar Jean-Michel Durafour on Lyotard’s film-philosophy, an overview of Lyotard’s practical film projects written by his collaborators Claudine Eizykman and Guy Fihman, and the synopsis for a later film project Memorial Immemorial, which Lyotard proposed but was not produced. Jean-François Lyotard was the most significant aesthetician of the poststructuralist generation, but this dimension of his thought is only recently beginning to receive the attention it deserves in the English-speaking world. He devoted a number of essays to film, and was involved in making several experimental short films. Lyotard’s reflections on film offer a perspective which seeks to do justice to it as an art by focusing on its aesthetic, material qualities. His work in this area remains a largely untapped resource, with the potential for inaugurating exciting new directions in film-philosophy.ContributorsKiff Bamford, Leeds Beckett University, UKKeith Crome, Manchester Metropolitan University, UKJean-Michel Durafour, University Paris-Est, France Claudine Eizykman, University of Paris 8, FranceGuy Fihman, University of Paris 8, FranceJulie Gaillard, Emory University, USAJon Hackett, St Mary’s University, UKVlad Ionescu, Hasselt University, BelgiumGraham Jones, Federation University, Australia Peter W. Milne, Seoul National University, South KoreaLisa Trahair, New South Wales, AustraliaSusana Viegas, Nova University of Lisbon (NOVA), Portugal and Deakin University, AustraliaJames Williams, Deakin University, Australia

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 29. Jun 2022)