Alain Badiou: A Critical Introduction (Modern European Thinkers)
Jason Barker
Language: English
Pages: 200
ISBN: 0745318002
Format: PDF / Kindle (mobi) / ePub
A clear and concise introduction to the political philosophy of Alain Badiou, centred in a political context.
Community and Civil Society (Cambridge Texts in the History of Political Thought)
Alienation (New Directions in Critical Theory)
The Holy History of Mankind and Other Writings (Cambridge Texts in the History of Political Thought)
Marxism, Revolution and Utopia (Collected Papers of Herbert Marcuse, Volume 6)
Reopens from different angles the debates about visual and auditory point of view. The tradition Wolfe is questioning has privileged visuals over sound, under the term ‘spectatorship’. His query can easily be broadened to raise awkward questions about the relations between sound and image in other periods. For example, how does the demotion of sound cater for the fact that a series of classical Hollywood films were almost simultaneously broadcast on the radio, often with the same actors? 11 The.
Unconscious Without question, one of the main motives for writing this book is my dislike of psychoanalytic modes of film analysis. Partly, this is sympathy for students’ frequent sense that to read the stuff is to take forced marches through jungles of jargon, behind whose every frond lurks a phallic snake, biting, accusing. Partly, it is because I share Bordwell’s feeling that a great deal of such work is a rhetorical game, imposing arbitrary readings on films whose test of success is as much.
For death. The double nature of the impact, then, turns it into an implement of completion. We, as audience, adopt an astronomical eye to observe the scale of the impact, and then switch back and forth between impossible all-knowing perspectives (above and under the water as the Statue of Liberty is first toppled and then crashes to the floor of the ocean; directly over the rise of the tsunami as it sucks the beach in front of Jenny and her father bare of water) and participative perspectives.
Decisions of an entirely different nature, to the point where familiar norms directly conflict with another kind of satisfaction that looks nothing short of “dirty” when seen from a cultural viewpoint’ (pp.147–8). So what his analysis reveals is a set of rules which the film enacts, rules which draw attention to a society’s rules by hinting at breaking them. Although brief, Altman’s account has to my eyes the virtue of revealing something otherwise non-obvious about the way this individual film.
Part of analytical practice to bring into open view claims that take the form: ‘If I am right, then the following ought also to hold true.’ Since a good part of my opening chapter addressed the problems in the way film analysis does this as it applies to audiences, I want to stress here that such implications can also run to ideas about production, and the relations of cinema and politics, for example. Consider, in this light, an intriguing essay by Warren Buckland, designed to challenge the.