Dissenting Words is a lively and engaging collection of interviews that span the length of Jacques Ranciere's trajectory, from the critique of Althusserian Marxism and the work on proletarian thinking in the nineteenth century to the more recent reflections on politics and aesthetics. Across these pages, Ranciere discusses the figures, concepts and arguments he has introduced to the theoretical landscape over the past forty years, the themes and concerns that have animated his thinking, the positions he has defended and the wide range of objects and discourses that have attracted his attention and through which his thought has unfolded: history, pedagogy, literature, art, cinema. But more than reflecting on the continuities, turns, ruptures and deviations in his thought, Ranciere recasts his work in a different discursive register. And the pleasure we experience in reading these interviews - with their asides, displacements and reconstructions - stems from the way Ranciere transforms the voice of the thinker commenting on his texts and elucidating his concepts into another, and equally rich, manifestation of his thought. Core sections of this edition are translated from the french publication Et tant pis pour le gens fatigues, by Jacques Ranciere, (c) Editions Amsterdam 2009, published by arrangement Agence litteraire Pierre Astier & Associes

This unconventional publication explores the process of making art through the work and studio practice of Sophie Whettnall (b. 1973), a contemporary Belgian artist whose works range from video art, installation, and performance to sculpture and drawing. In addition to copious illustrations of Whettnall's artwork that highlight its relationship to the studio and the artist's creative process, the book features three conversations. The first, between Whettnall and fellow artist Marina Abramovic, explores transmission, violence, and femininity. The second, between Emiliano Battista and Scott Samuelson, situates Whettnall's work and practice in the broader context of contemporary art and the theoretical framework that shapes it. In the third, Carine Fol and Whettnall share with the reader the behind-the-scenes discussions and decisions that go into the mounting of an exhibition.

Dissenting Words is a lively and engaging collection of interviews that span the length of Jacques Ranciere's trajectory, from the critique of Althusserian Marxism and the work on proletarian thinking in the nineteenth century to the more recent reflections on politics and aesthetics. Across these pages, Ranciere discusses the figures, concepts and arguments he has introduced to the theoretical landscape over the past forty years, the themes and concerns that have animated his thinking, the positions he has defended and the wide range of objects and discourses that have attracted his attention and through which his thought has unfolded: history, pedagogy, literature, art, cinema. But more than reflecting on the continuities, turns, ruptures and deviations in his thought, Ranciere recasts his work in a different discursive register. And the pleasure we experience in reading these interviews - with their asides, displacements and reconstructions - stems from the way Ranciere transforms the voice of the thinker commenting on his texts and elucidating his concepts into another, and equally rich, manifestation of his thought. Core sections of this edition are translated from the French publication Et tant pis pour le gens fatigues, by Jacques Ranciere, (c) Editions Amsterdam 2009, published by arrangement Agence litteraire Pierre Astier & Associes

Film Fables traces the history of modern cinema. Encyclopedic in scope, Film Fables is that rare work that manages to combine extraordinary breadth and analysis with a lyricism which attests time and again to a love of cinema. Jacques Ranciere moves effortlessly from Eisenstein's and Murnau's transition from theatre to film to Fritz Lang's confrontation with television, from the classical poetics of Mann's Westerns to Ray's romantic poetics of the image, from Rossellini's neo-realism to Deleuze's philosophy of the cinema and Marker's documentaries. The Film Fable shows us how, between its images and its stories, the cinema tells its truth.