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Books > Arts & Architecture > Performing arts > Films, cinema > Film theory & criticism
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Forms of Being: Cinema, Aesthetics, Subjectivity (Hardcover, 2004 Ed.)
Loot Price: R3,303
Discovery Miles 33 030
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Forms of Being: Cinema, Aesthetics, Subjectivity (Hardcover, 2004 Ed.)
Expected to ship within 12 - 17 working days
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Total price: R3,323
Discovery Miles: 33 230
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In each of the films discussed in this book--"Le Mepris" (Jean-Luc
Godard, 1963), "All About My Mother" (Pedro Almodovar, 1999), "The
Thin Red Line" (Terrence Malick, 1998) --something extraordinary is
proposed. Or if not proposed, then shown, visually, by stranger and
more powerful means than narrative or argument.
It is a matter in every case of re-imagining the relationship
between subjectivity and the world.
At the end of "Le Mepris" a conventional account of doomed and
tragic love is displaced by images of nature as just a space of
almost blank appearances, which are beyond all human desire and
psychological entanglements.
"All About My Mother "veers away from imprisoning forms of
identity, family and gender. It begins, hesitantly, to depict other
kinds of sociability--more fluid ones that do not rely on coercion
or obligation.
Most remarkably, "The Thin Red Line" moves to eradicate discourse
itself--to approach the world and the beings in it with a neutral
gaze, without presupposing a hierarchy of relationships. In its use
of close-ups and in its patterns of visual correspondence between
human and non-human life, The "Thin Red Line" becomes abstract and
startlingly indifferent to its violent subject-matter--as if,
according to Leo Bersani and Ulysse Dutoit, an impassive, wholly
receptive looking were the most appropriate, the most ethically
justifiable, the least enraged and possessive way to appreciate the
possibilities of existing in a world which is, beyond the conflict
that is brought into it, not at war with its inhabitants.
The close analyses (supported by numerous illustrations) in "Forms
of Being" are groundbreakingly original and compelling, suggesting
newways of approaching cinema as visual art. Together they further
develop the authors' longstanding project to redefine the ways in
which subjectivity, sexuality, relationality and aesthetics can be
understood and transformed.
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