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In Movies with Stanley Cavell in Mind, some of the scholars who
have become essential for our understanding of Stanley Cavell's
writing on film gather to use his landmark contributions to help us
read new films-from Hollywood and elsewhere-that exist beyond his
immediate reach and reading. In extending the scope of Cavell's
film philosophy, we naturally find ourselves contending with it and
amending it, as the case may be. Through a series of interpretive
vignettes, the group effort situates, for the expert and novitiate
alike, how Cavell's writing on film can profitably enrich one's
experience of cinema generally and also inform how we might
continue the practice of serious philosophical criticism of
specific films mindful of his sensibility. The resulting
conversations between texts, traditions, disciplines, genres, and
generations creates propitious conditions for discovering what it
means to watch and listen to movies with Stanley Cavell in mind.
What is real? What is the relationship between ideas and objects in
the world? Is God a concept or a being? Is reality a creation of
the mind or a power beyond it? How does mental experience
coordinate with natural laws and material phenomena? The Bloomsbury
Anthology of Transcendental Thought is the definitive anthology of
responses to these and other questions on the nature and limits of
human knowledge by philosophers, theologians, and writers from
Plato to Zizek. The word "transcendental" is as prevalent and also
as ambiguously defined as the name "philosophy" itself. There are
as many uses, invocations, and allusions to the term as there are
definitions on offer. Every generation of writers, beginning in
earnest in ancient Greece and continuing through to our own time,
has attempted to clarify, apply, and lay claim to the meaning of
transcendental thought. Arranged chronologically, this anthology
reflects the diverse uses the term has been put to over the course
of two and a half millennia. It lends historical perspective to the
abiding importance of the transcendental for philosophical thinking
and also some sense of the complexity, richness, and continued
relevance of the contested term. The Bloomsbury Anthology of
Transcendental Thought, the first anthology of its kind, offers
teachers and students a new viewpoint on the history and present of
transcendental thought. Its selection of essential, engaging
excerpts, carefully selected, edited, and introduced, brings course
materials up-to-date with the state of the discipline.
The polysemous German word Geschlecht -- denoting gender, genre,
kind, kinship, species, race, and somehow also more -- exemplifies
the most pertinent questions of the translational,
transdisciplinary, transhistorical, and transnational structures of
the contemporary humanities: What happens when texts, objects,
practices, and concepts are transferred or displaced from one
language, tradition, temporality, or form to another? What is
readily transposed, what resists relocation, and what precipitate
emerges as distorted or new? Drawing on Barbara Cassin's
transformative remarks on untranslatability, and the activity of
"philosophizing in languages," scholars contributing to The
Geschlecht Complex examine these and other durable queries
concerning the ontological powers of naming, and do so in the light
of recent artistic practices, theoretical innovations, and
philosophical incitements. Combining detailed case studies of
concrete "category problems" in literature, philosophy, media,
cinema, politics, painting, theatre, and the performing arts with a
range of indispensable excerpts from canonical texts -- by notable,
field-defining thinkers such as Apter, Cassin, Cavell, Derrida,
Irigaray, Malabou, and Nancy, among others -- the volume presents
"the Geschlecht complex" as a condition to become aware of, and in
turn, to companionably underwrite any interpretive endeavor.
Historically grounded, yet attuned to the particularities of the
present, the Geschlecht complex becomes an invaluable mode for
thinking and theorizing while ensconced in the urgent immediacy of
pressing concerns, and poised for the inevitable complexities of
categorial naming and genre discernment that await in the so often
inscrutable, translation-resistant twenty-first century.
When a work of art shows an interest in its own status as a work of
art-either by reference to itself or to other works-we have become
accustomed to calling this move "meta." While scholars and critics
have, for decades, acknowledged reflexivity in films, it is only in
Metacinema, for the first time, that a group of leading and
emerging film theorists join to enthusiastically debate the
meanings and implications of the meta for cinema. In new essays on
generative films, including Rear Window, 8 1/2, Holy Motors, Funny
Games, Fight Club, and Clouds of Sils Maria, contributors chart,
explore, and advance the ways in which metacinema is at once a mode
of filmmaking and a heuristic for studying cinematic attributes.
What results is not just an engagement with certain practices and
concepts in widespread use in the movies (from Hollywood to global
cinema, from documentary to the experimental and avant-garde), but
also the development of a veritable and vital new genre of film
studies. With more and more films expressing reflexivity,
recursion, reference to other films, mise-en-abime, seriality, and
exhibiting related intertextual and intermedial traits, the time is
overdue for the kind of capacious yet nuanced critical study found
in Metacinema.
This collection of new work on the philosophical importance of
television starts from a model for reading films proposed by
Stanley Cavell, whereby film in its entirety—actors and
production included—brings its own intelligence to its
realization. In turn, this intelligence educates us as viewers,
leading us to recognize and appreciate our individual cinephilic
tastes, and to know ourselves and each other better. This reading
is even more valid for TV series. Yet, in spite of the
progress of film-philosophy, there has been a paucity of concurrent
analysis of the ethical stakes, the modes of expressiveness, and
the moral education involved in television series. Perhaps most
conspicuously, there has been a lack of focus on the experience of
the viewer. Cavell highlighted popular cinema's capacity to
create a common culture for millions. This power has become
dispersed across other bodies of work and practices, most notably
TV series, which have largely appropriated the responsibility of
widening the perspectives of their publics, a role once associated
with the silver screen. Just as Cavell's reading of films involved
moral perfectionism in its intent, this project is also
perfectionist, extending a similar aesthetic and ethical method to
readings of the small screen. Because TV series are works that are
public and thus shared, and often global in reach, they fulfil an
educational role—whether intended or not—and one that enables
viewers to anchor and appreciate the value of their everyday
experiences. Contributions from: William Rothman, Martin Shuster,
Elisabeth Bronfen, Hugo Clémot, David LaRocca, Jeroen Gerrits,
Stephen Mulhall, Michelle Devereaux, Thibaut de Saint-Maurice, Hent
de Vries, Catherine Wheatley, Byron Davies, Sandra Laugier, Paul
Standish, Robert Sinnerbrink.
A Critical Companion to Steven Spielberg offers a comprehensive,
detailed study of the works of Steven Spielberg. Spielberg's early
productions stand as landmarks in contemporary cinema, and his
involvement with film spans all cinematic genres. Today, Spielberg
enjoys an immense and enduring popularity around the globe, and his
productions have attracted (and continue to attract) both public
and critical attention. This book investigates several distinct
areas of Spielberg's works and addresses the different approaches
and the range of topics invited by the multidimensionality of his
oeuvre. The eighteen chapters in this book use different
methodologies, offering a variegated and compelling picture of
Spielberg's films, from his earliest works such as Duel (1971) and
The Sugarland Express (1974) to his most recent productions, such
as The BFG (2016), The Post (2017), and Ready Player One (2018).
The polysemous German word Geschlecht -- denoting gender, genre,
kind, kinship, species, race, and somehow also more -- exemplifies
the most pertinent questions of the translational,
transdisciplinary, transhistorical, and transnational structures of
the contemporary humanities: What happens when texts, objects,
practices, and concepts are transferred or displaced from one
language, tradition, temporality, or form to another? What is
readily transposed, what resists relocation, and what precipitate
emerges as distorted or new? Drawing on Barbara Cassin's
transformative remarks on untranslatability, and the activity of
“philosophizing in languages,” scholars contributing to The
Geschlecht Complex examine these and other durable queries
concerning the ontological powers of naming, and do so in the light
of recent artistic practices, theoretical innovations, and
philosophical incitements. Combining detailed case studies of
concrete “category problems” in literature, philosophy, media,
cinema, politics, painting, theatre, and the performing arts with a
range of indispensable excerpts from canonical texts -- by notable,
field-defining thinkers such as Apter, Cassin, Cavell, Derrida,
Irigaray, Malabou, and Nancy, among others -- the volume presents
“the Geschlecht complex” as a condition to become aware of, and
in turn, to companionably underwrite any interpretive endeavor.
Historically grounded, yet attuned to the particularities of the
present, the Geschlecht complex becomes an invaluable mode for
thinking and theorizing while ensconced in the urgent immediacy of
pressing concerns, and poised for the inevitable complexities of
categorial naming and genre discernment that await in the so often
inscrutable, translation-resistant twenty-first century.
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The Philosophy of Werner Herzog (Hardcover)
M. Blake Wilson, Christopher Turner; Contributions by Stefanie Baumann, Patricia Castello Branco, Daniele Dottorini, …
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R2,642
Discovery Miles 26 420
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Ships in 12 - 17 working days
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Legendary director, actor, author, and provocateur Werner Herzog
has incalculably influenced contemporary cinema for decades. Until
now there has been no sustained effort to gather and present a
variety of diverse philosophical approaches to his films and to the
thinking behind their creation. The Philosophy of Werner Herzog,
edited by M. Blake Wilson and Christopher Turner, collects fourteen
essays by professional philosophers and film theorists from around
the globe, who explore the famed German auteur's notions of
"ecstatic truth" as opposed to "accountants' truth," his conception
of nature and its penchant for "overwhelming and collective
murder," his controversial film production techniques, his debts to
his philosophical and aesthetic forebears, and finally, his pointed
objections to his would-be critics--including, among others, the
contributors to this book themselves. By probing how Herzog's
thinking behind the camera is revealed in the action he captures in
front of it, The Philosophy of Werner Herzog shines new light upon
the images and dialog we see and hear on the screen by enriching
our appreciation of a prolific--yet enigmatic--film artist.
A Critical Companion to Robert Zemeckis offers a comprehensive,
academic and detailed study of the works of Robert Zemeckis, whose
films include successful productions such as the Back to the Future
trilogy (1985-90), Forrest Gump (1994), Contact (1997), Cast Away
(2000) and The Polar Express (2004), but also lesser known films
such as I Wanna Hold Your Hand (1978), Used Cars (1980), and Allied
(2015). Most of Zemeckis' major productions were not only
successful when they were first released but continue to enjoy
popularity-with critics and fans alike-even today. This volume
investigates several distinct areas of Zemeckis' works and
addresses the different approaches: the philosophical, the
artistic, the socio-cultural, and the personal. The methodologies
adopted by the contributors differ significantly from each other,
thus offering the reader a variegated and compelling picture of
Zemeckis' oeuvre, which includes nineteen films. Contrary to the
few volumes published in the past on the subject, the chapters in
this volume offer specific case studies that have been previously
ignored (or only partially mentioned) by other scholars. A Critical
Companion to Robert Zemeckis offers a great variety of
interdisciplinary approaches to Zemeckis' films, illuminating,
re-reading and/or interpreting for the first time the entire career
of the director, from his first films to the most recent ones.
From the dust of the Montana plains to the farthest reaches of the
cosmos, Terrence Malick's films have enchanted audiences with
transcendent images of nature, humanity, and grace for nearly fifty
years. The contributors in this volume explore the profound
implications of Malick's stories, images, processes, and
convictions as they offer comprehensive studies of the ten
completed films of Terrence Malick. Each chapter takes a reflective
and retrospective approach, considering new interpretations and
frameworks for understanding Malick's unique creative choices.
Drawing from a range of diverse academic disciplines, the
collection analyzes the groundbreaking qualities of his cinematic
style and the philosophical underpinnings that permeate his work.
Rigorously researched and unique, the arguments presented within
this volume shed new light on Malick and the cinematic medium.
The spirit that founded the volume and guided its development is
radically inter- and transdisciplinary. Dispatches have arrived
from anthropology, communications, English, film studies (including
theory, history, criticism), literary studies (including theory,
history, criticism), media and screen studies, cognitive cultural
studies, narratology, philosophy, poetics, politics, and political
theory; and as a special aspect of the volume, theorist-filmmakers
make their thoughts known as well. Consequently, the critical
reflections gathered here are decidedly pluralistic and
heterogeneous, inviting-not bracketing or partitioning-the dynamism
and diversity of the arts, humanities, social sciences, and even
natural sciences (in so far as we are biological beings who are
trying to track our cognitive and perceptual understanding of a
nonbiological thing-namely, film, whether celluloid-based or in
digital form); these disciplines, so habitually cordoned off from
one another, are brought together into a shared conversation about
a common object and domain of investigation. This book will be of
interest to theorists and practitioners of nonfiction film; to
emerging and established scholars contributing to the secondary
literature; and to those who are intrigued by the kinds of
questions and claims that seem native to nonfiction film, and who
may wish to explore some critical responses to them written in
engaging language.
This book offers a comprehensive, detailed study of the works of
Steven Spielberg, whose numerous and heterogeneous films include
extremely successful productions such as Jaws (1975), Close
Encounters of the Third Kind (1977), E.T. the Extraterrestrial
(1982), the Indiana Jones saga (1981-2008), Jurassic Park (1993),
Schindler's List (1993), and Saving Private Ryan (1999), as well as
less-known films such as 1941 (1979), Always (1989), War Horse
(2011), and The Adventures of Tintin (2011). Spielberg's early
productions stand as landmarks in contemporary cinema and his
involvement with film has been spanning all cinematic genres. Today
Spielberg enjoys an immense and enduring popularity around the
globe and his productions have attracted (and continue to attract)
both public and critical attention. This volume investigates
several distinct areas of Spielberg's works and addresses the
different approaches and the range of topics invited by the
multidimensionality of his oeuvre. The eighteen chapters use
different methodologies, offering a variegated and compelling
picture of Spielberg's films, from his earliest works, such as Duel
(1971) and The Sugarland Express (1974), to his most recent
productions, such as The BFG (2016), The Post (2017), and Ready
Player One (2018).
Stanley Cavell was, by many accounts, America's greatest
philosophical thinker of film. Like Bazin in France and Perkins in
England, Cavell did not just transform the American capacity to
take film as a subject for philosophical criticism; he had to first
invent that legitimacy. Part of that effort involved the creation
of several key now-canonical texts in film studies, among them the
seminal The World Viewed along with Pursuits of Happiness and
Contesting Tears. The present collection offers, for the first time
anywhere, a concerted effort mounted by some of today's most
compelling writers on film to take careful account of Cavell's
legacy. The contributors think anew about what precisely Cavell
contributed, what holds up, what is in need to revision or
updating, and how his writing continues to be of vital significance
and relevance for any contemporary approach to the philosophy of
film.
Some of the people who knew Stanley Cavell best--or know his work
most intimately--are gathered in Inheriting Stanley Cavell to lend
critical insight into the once and future legacy of this American
titan of thought. Former students, colleagues, long-time friends,
as well as distant admirers, explore moments when their personal
experiences of Cavell's singular philosophical and literary
illuminations have, as he put it, "risen to the level of
philosophical significance." Many of the memories, dreams, and
reflections on offer in this volume carry with them a welcome
register of the autobiographical, expressing--much as Cavell did
through his own writing--how the personal can become philosophical
and thus provide a robust mode for the making of meaning and the
clarifying of the human condition. Here, in varied styles and
through a range of dynamic content, authors engage the lingering
question of inheriting philosophy in whatever form it might take,
and what it means to think about inheritance and enact it.
When a work of art shows an interest in its own status as a work of
art-either by reference to itself or to other works-we have become
accustomed to calling this move "meta." While scholars and critics
have, for decades, acknowledged reflexivity in films, it is only in
Metacinema, for the first time, that a group of leading and
emerging film theorists join to enthusiastically debate the
meanings and implications of the meta for cinema. In new essays on
generative films, including Rear Window, 8 1/2, Holy Motors, Funny
Games, Fight Club, and Clouds of Sils Maria, contributors chart,
explore, and advance the ways in which metacinema is at once a mode
of filmmaking and a heuristic for studying cinematic attributes.
What results is not just an engagement with certain practices and
concepts in widespread use in the movies (from Hollywood to global
cinema, from documentary to the experimental and avant-garde), but
also the development of a veritable and vital new genre of film
studies. With more and more films expressing reflexivity,
recursion, reference to other films, mise-en-abime, seriality, and
exhibiting related intertextual and intermedial traits, the time is
overdue for the kind of capacious yet nuanced critical study found
in Metacinema.
The spirit that founded the volume and guided its development is
radically inter- and transdisciplinary. Dispatches have arrived
from anthropology, communications, English, film studies (including
theory, history, criticism), literary studies (including theory,
history, criticism), media and screen studies, cognitive cultural
studies, narratology, philosophy, poetics, politics, and political
theory; and as a special aspect of the volume, theorist-filmmakers
make their thoughts known as well. Consequently, the critical
reflections gathered here are decidedly pluralistic and
heterogeneous, inviting-not bracketing or partitioning-the dynamism
and diversity of the arts, humanities, social sciences, and even
natural sciences (in so far as we are biological beings who are
trying to track our cognitive and perceptual understanding of a
nonbiological thing-namely, film, whether celluloid-based or in
digital form); these disciplines, so habitually cordoned off from
one another, are brought together into a shared conversation about
a common object and domain of investigation. This book will be of
interest to theorists and practitioners of nonfiction film; to
emerging and established scholars contributing to the secondary
literature; and to those who are intrigued by the kinds of
questions and claims that seem native to nonfiction film, and who
may wish to explore some critical responses to them written in
engaging language.
Some of the people who knew Stanley Cavell best--or know his work
most intimately--are gathered in Inheriting Stanley Cavell to lend
critical insight into the once and future legacy of this American
titan of thought. Former students, colleagues, long-time friends,
as well as distant admirers, explore moments when their personal
experiences of Cavell’s singular philosophical and literary
illuminations have, as he put it, “risen to the level of
philosophical significance.” Many of the memories, dreams, and
reflections on offer in this volume carry with them a welcome
register of the autobiographical, expressing--much as Cavell did
through his own writing--how the personal can become philosophical
and thus provide a robust mode for the making of meaning and the
clarifying of the human condition. Here, in varied styles and
through a range of dynamic content, authors engage the lingering
question of inheriting philosophy in whatever form it might take,
and what it means to think about inheritance and enact it.
Stanley Cavell was, by many accounts, America's greatest
philosophical thinker of film. Like Bazin in France and Perkins in
England, Cavell did not just transform the American capacity to
take film as a subject for philosophical criticism; he had to first
invent that legitimacy. Part of that effort involved the creation
of several key now-canonical texts in film studies, among them the
seminal The World Viewed along with Pursuits of Happiness and
Contesting Tears. The present collection offers, for the first time
anywhere, a concerted effort mounted by some of today's most
compelling writers on film to take careful account of Cavell's
legacy. The contributors think anew about what precisely Cavell
contributed, what holds up, what is in need to revision or
updating, and how his writing continues to be of vital significance
and relevance for any contemporary approach to the philosophy of
film.
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