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This book examines the theory, originally raised in Gilles
Deleuze's philosophy of film, that cinema has the power to restore
our trust in the world. Fruchtl demonstrates that cinema does this
in three main ways: by restoring our belief in the absurd, in the
body and in a sceptical abstention from judging and acting. Cinema
shares this ability with other arts, but what sets it apart in
particular is that it evokes Modernity and its principle of
subjectivity. This book further develops the idea of trust and
cinema by synthesizing the philosophies of complementary thinkers
such as Kant, Nancy, Agamben, Benjamin and Ranciere. It concludes
with examination of Cavell's solution to the problem of scepticism
and a synthesis of Kantian aesthetic theory with Cavellian
pragmatism. Originally published in German under the title
Vertrauen in die Welt, this English-language translation features a
new introduction that situates Fruchtl's work within contemporary
analytical philosophy of film. It will be of interest to scholars
working in Continental aesthetics, philosophy of film, and film
theory.
This book examines the theory, originally raised in Gilles
Deleuze's philosophy of film, that cinema has the power to restore
our trust in the world. Fruchtl demonstrates that cinema does this
in three main ways: by restoring our belief in the absurd, in the
body and in a sceptical abstention from judging and acting. Cinema
shares this ability with other arts, but what sets it apart in
particular is that it evokes Modernity and its principle of
subjectivity. This book further develops the idea of trust and
cinema by synthesizing the philosophies of complementary thinkers
such as Kant, Nancy, Agamben, Benjamin and Ranciere. It concludes
with examination of Cavell's solution to the problem of scepticism
and a synthesis of Kantian aesthetic theory with Cavellian
pragmatism. Originally published in German under the title
Vertrauen in die Welt, this English-language translation features a
new introduction that situates Fruchtl's work within contemporary
analytical philosophy of film. It will be of interest to scholars
working in Continental aesthetics, philosophy of film, and film
theory.
"The Impertinent Self" provides a philosophical and cultural theory
of modernity by constructing a parallel between the philosophical
self and the hero figure found in certain cinematic genres. Fruchtl
argues that modernity is not unified and should be conceived as a
phenomenon consisting of three strata: the classical, the agonist,
and the hybrid. He demonstrates this by following a dual
trajectory: the shift in the concept of the self from German
idealism to Romanticism and so-called postmodernism, and the
evolution of the hero figure in the Western and in crime and
science fiction movies. Fruchtl takes a clear position within the
ongoing discussion in the humanities and social sciences about
modernity, a discussion that, in light of the work of Foucault,
Lyotard, and Habermas, has too often neglected the importance of
Romanticism. Similarly, he embraces the role of film and popular
culture in modern society.
"The Impertinent Self" provides a philosophical and cultural theory
of modernity by constructing a parallel between the philosophical
self and the hero figure found in certain cinematic genres. Fruchtl
argues that modernity is not unified and should be conceived as a
phenomenon consisting of three strata: the classical, the agonist,
and the hybrid. He demonstrates this by following a dual
trajectory: the shift in the concept of the self from German
idealism to Romanticism and so-called postmodernism, and the
evolution of the hero figure in the Western and in crime and
science fiction movies. Fruchtl takes a clear position within the
ongoing discussion in the humanities and social sciences about
modernity, a discussion that, in light of the work of Foucault,
Lyotard, and Habermas, has too often neglected the importance of
Romanticism. Similarly, he embraces the role of film and popular
culture in modern society.
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