Ours is a post-political society that cannot imagine radical change; a 'one dimensional' society in which politics is reduced to economic concerns. Paradoxically, however, everybody today is subjected to the imperative of regular radical change. Populations have grown accustomed to the idea that one constantly needs to adapt to radical transformations, modify one's life strategy in tune with the demands of the market on the one hand and the politics of security on the other. Indeed, the idea that there are unquestionable authorities, the idea of 'despotism', no longer refers to exceptional circumstances in which politics is suspended but rather seems to have become normalized as part of daily life. This book aims to articulate the genealogy of the despotism-economy-voluntary servitude nexus focusing on their different constellations in the prism of social theory and political philosophy. As it traces the genealogy of this nexus its concern is the field of formation, intervention and intelligibility that arises when and as the three concepts encounter one another.

The book intervenes into the contemporary debate on religion, politics, and economy, focusing on the field of formation which emerges as these seemingly autonomous spheres encounter one another. Empirically, it concentrates on examples from literature, theatre, and cinema as well as a case study of the recent revolts in Turkey where a 'moderate' Islamic government is in power. Theoretically, its focus is on the contemporary 'return' of religion in the horizon of the critique of religion, seeking to articulate an affirmative politics that can re-evaluate the value of dominant values in religious governance and governance of religion.

In contemporary society the idea of 'revolution' seems to have become obsolete. What is more untimely than the idea of revolution today? At the same time, however, the idea of radical change no longer refers to exceptional circumstances but has become normalized as part of daily life. Ours is a 'culture' of permanent revolution in which constant systemic disembedding demands a meta-stable subjectivity in continuous transformation. In this sense, the idea of revolution is painfully timely. This paradoxical coincidence, the simultaneous absence and presence of the desire for radical change in contemporary society, is the point of departure for the symptomatic reading this book offers. The book addresses the social, political and cultural significance of revolt and revolution in three dimensions. First, it analyzes revolt and revolution as 'events' which are of history but not reducible to it. Second, it elaborates on theories that grant revolt and revolution a central place in their structure. Thirdly, it discusses revolutionary or emancipatory theories that seek to participate in radical change. Further, since both revolt and revolution involve the critique of what exists, of actual reality, the implications of the intimate relationship between revolt, revolution and critique are explicated.

In contemporary society the idea of 'revolution' seems to have become obsolete. What is more untimely than the idea of revolution today? At the same time, however, the idea of radical change no longer refers to exceptional circumstances but has become normalized as part of daily life. Ours is a 'culture' of permanent revolution in which constant systemic disembedding demands a meta-stable subjectivity in continuous transformation. In this sense the idea of revolution is painfully timely. This paradoxical coincidence, the simultaneous absence and presence of the desire for radical change in contemporary society, is the point of departure for the symptomatic reading this book offers. The book addresses the social, political and cultural significance of revolt and revolution in three dimensions. First, it analyzes revolt and revolution as 'events' which are of history but not reducible to it. Second, it elaborates on theories that grant revolt and revolution a central place in their structure. And third, it discusses revolutionary or emancipatory theories that seek to participate in radical change.Further, since both revolt and revolution involve the critique of what exists, of actual reality, the implications of the intimate relationship between revolt, revolution and critique are explicated.

This text discusses nihilism as a paradoxical idea, which is simultaneously destructive to & constitutive of society, by developing a systematic account of the historical significance, political consequences, & the social topology of nihilism. Empirically, it focuses on literary, cinematic & architectural spaces of nihilism.

Sociology through the Projector takes issue with the question of how contemporary film can help answering the general, abstract but still urgent question: what is the social today? This book explains the performative relation to contemporary social theory in which cinema functions as a tool for social diagnosis.

There is much to be learned about social theory through an encounter with films as films are part and parcel of the society they portray. Increasingly more lay knowledge about social problems and facts stems from cinema as it offers to large audiences a popular and pedagogical introduction to social knowledge. Social theory cannot avoid a critical engagement with cinema as cinema interprets, invents, displaces and distorts the object of sociological inquiry.

This book will provide a deeper understanding of contemporary social theory as the chosen films will work as a pedagogical route into contemporary social theory. The films represent a mix of European and American blockbusters and more aesthetically orientated films.

The authors question several dominant topics and concerns within social theory and film studies. Firstly, by cross-examining a series of concepts such as identity, representation, memory and surveillance (filming social behaviour) which are of concern to both film theory and social theory. Secondly, by trying to develop imaginative approaches to standard social concerns such as exclusion, gender roles and inequalities, power, infantilisation and commodification of the social and psychological bonds.

This book will be a great resource for students and researchers of Sociology, Contemporary Social Theory, Film Studies and Cultural Studies.

Sociology through the Projector takes issue with the question of how contemporary film can help answering the general, abstract but still urgent question: what is the social today? This book explains the performative relation to contemporary social theory in which cinema functions as a tool for social diagnosis. There is much to be learned about social theory through an encounter with films as films are part and parcel of the society they portray. Increasingly more lay knowledge about social problems and facts stems from cinema as it offers to large audiences a popular and pedagogical introduction to social knowledge. Social theory cannot avoid a critical engagement with cinema as cinema interprets, invents, displaces and distorts the object of sociological inquiry. This book will provide a deeper understanding of contemporary social theory as the chosen films will work as a pedagogical route into contemporary social theory. The films represent a mix of European and American blockbusters and more aesthetically orientated films. The authors question several dominant topics and concerns within social theory and film studies. Firstly, by cross-examining a series of concepts such as identity, representation, memory and surveillance (filming social behaviour) which are of concern to both film theory and social theory. Secondly, by trying to develop imaginative approaches to standard social concerns such as exclusion, gender roles and inequalities, power, infantilisation and commodification of the social and psychological bonds. This book will be a great resource for students and researchers of Sociology, Contemporary Social Theory, Film Studies and Cultural Studies.

We live in an ever-fragmenting society, in which distinctions between culture and nature, biology and politics, law and transgression, mobility and immobility, reality and representation, seem to be disappearing. This book demonstrates the hidden logic beneath this process, which is also the logic of 'the camp'. Social theory has traditionally interpreted the camp as an anomaly, as an exceptional site situated on the margins of society, aiming to neutralize its 'failed citizens' and 'enemies'. However, in contemporary society, 'the camp' has now become the rule and consequently a new interrogation of its logic is necessary.
In this exceptional volume, the authors explore the paradox of the camp, as representing both an old fear of enclosure and a new dream of belonging. They illustrate their arguments by drawing on contemporary sites of exemption - such as refugee camps, rape camps and favelas - as well as sites of self-exemption including gated communities, party tourism and celebrity cultures.

We live in an ever-fragmenting society, in which distinctions between culture and nature, biology and politics, law and transgression, mobility and immobility, reality and representation, seem to be disappearing. This book demonstrates the hidden logic beneath this process, which is also the logic of 'the camp'. Social theory has traditionally interpreted the camp as an anomaly, as an exceptional site situated on the margins of society, aiming to neutralize its 'failed citizens' and 'enemies'. However, in contemporary society, 'the camp' has now become the rule and consequently a new interrogation of its logic is necessary. In this exceptional volume, the authors explore the paradox of the camp, as representing both an old fear of enclosure and a new dream of belonging. They illustrate their arguments by drawing on contemporary sites of exemption - such as refugee camps, rape camps and favelas - as well as sites of self-exemption including gated communities, party tourism and celebrity cultures.

Most significant problems of contemporary life have their origins in nihilism and its paradoxical logic, which is simultaneously destructive to and constitutive of society. Yet, in social theory, nihilism is a surprisingly under-researched topic.

This book develops a systematic account of nihilism in its four main forms: escapism, radical nihilism, passive nihilism and 'perfect nihilism.' It focuses especially on the disjunctive synthesis between passive nihilism (the negation of the will) and radical nihilism (the will to negation), between the hedonism/disorientation that characterizes the contemporary post-political culture and the emerging forms of despair and violence as a reaction to it.

The book deals with nihilism at three levels. First, it addresses the genealogy and consequences of nihilism, which is followed by an excursus through film analysis. Then the book focuses on the 'social, ' relating nihilism to capitalism, post-politics and terrorism. Another excursus fleshes out the theoretical argumens by focusing on Houellebecq's fiction. Finally, the possibilities of overcoming nihilism are considered by emphasizing the significance of concepts such as event, agonism and antagonism in this context.

The book intervenes into the contemporary debate on religion, politics, and economy, focusing on the field of formation which emerges as these seemingly autonomous spheres encounter one another. Empirically, it concentrates on examples from literature, theatre, and cinema as well as a case study of the recent revolts in Turkey where a 'moderate' Islamic government is in power. Theoretically, its focus is on the contemporary 'return' of religion in the horizon of the critique of religion, seeking to articulate an affirmative politics that can re-evaluate the value of dominant values in religious governance and governance of religion.

Film maker Nuri Bilge Ceylan's meditative, visually stunning contributions to the 'New Turkish Cinema' have marked him out as a pioneer of his medium. Reaping success from his prize-winning, breakout film Uzak (2002), and from later festival favourites Once Upon a Time in Anatolia (2011) and Winter Sleep (2014), he has quickly established himself as an original and provocative writer, director and producer of 21st century cinema. In an age where Turkey's modernisation has created societal tensions and departures from past tradition, Ceylan's films present a cinema of dislocation and a vision of 'nostalgia' understood as homesickness: sick of being away from home; sick of being at home. This book offers an overdue study of Ceylan's work and a critical examination of the principle themes therein. In particular, chapters focus on time and space, melancholy and loneliness, absence, rural and urban experience, and notions of paradox, as explored through films which are often slow and uncompromising in their pessimistic outlook. Moving on from the tendency to situate Ceylan's oeuvre exclusively within the canon of 'New Turkish Cinema', one of this book's major achievements is also to assess the influence of classic European thought, literature and film and how such a notably minimal - and in many ways nationally-specific - approach translates to an increasingly transnational context for film. This will prove an important book for film students and scholars, and those interested in Turkish visual culture.

Film maker Nuri Bilge Ceylan's meditative, visually stunning contributions to the 'New Turkish Cinema' have marked him out as a pioneer of his medium. Reaping success from his prize-winning, breakout film Uzak (2002), and from later festival favourites Once Upon a Time in Anatolia (2011) and Winter Sleep (2014), he has quickly established himself as an original and provocative writer, director and producer of 21st century cinema. In an age where Turkey's modernisation has created societal tensions and departures from past tradition, Ceylan's films present a cinema of dislocation and a vision of 'nostalgia' understood as homesickness: sick of being away from home; sick of being at home. This book offers an overdue study of Ceylan's work and a critical examination of the principle themes therein. In particular, chapters focus on time and space, melancholy and loneliness, absence, rural and urban experience, and notions of paradox, as explored through films which are often slow and uncompromising in their pessimistic outlook. Moving on from the tendency to situate Ceylan's oeuvre exclusively within the canon of 'New Turkish Cinema', one of this book's major achievements is also to assess the influence of classic European thought, literature and film and how such a notably minimal - and in many ways nationally-specific - approach translates to an increasingly transnational context for film. This will prove an important book for film students and scholars, and those interested in Turkish visual culture.