This book examines a corpus of films and TV series released since the global financial crisis, addressing them as emblematic expressions of our age of precarity. The analysis of the motifs and characters of these case studies is built around notions originating from Mikhail Bakhtin's literary theory and, in particular, the concept of chronotope, affirming the material and dynamic connection between form and content in artistic experience. This book observes how precarious lives are enacted in forms of spatio-temporal compositions which carry conceptual and ethical challenges for their viewers. This book falls within the film-philosophy framework and, although primarily directed to an academic audience, it provides an interdisciplinary account of the notion of cinematic precarity. It puts the embodied analysis of viewers' ethical participation in close dialogical relationship with a philosophical and sociological examination of current dynamics of inequality and exclusion.

This work outlines a new methodology for film analysis based on the radical materialist thought of Baruch Spinoza, re-evaluating contemporary cognitive media theory and philosophical theories on the emotional and intellectual aspects of film experience. Sticchi's exploration of Spinozian philosophy creates an experiential constructive model to blend the affective and intellectual aspects of cognition, and to combine it with different philosophical interpretations of film theory. Spinoza's embodied philosophy rejected logical and ethical dualisms, and established a perfect parallelism between sensation and reason and provides the opportunity to address negative emotions and sad passions without referring exclusively to traditional notions such as catharsis or sublimation, and to put forth a practical/embodied notion of Film-Philosophy. This new analytical approach is tested on four case studies, films that challenge the viewer's emotional engagement since they display situations of cosmic failure and depict controversial and damaged characters: A Serious Man (2009); Melancholia (2011); The Act of Killing (2012) and Only Lovers Left Alive (2013). This book is an important addition to the literature in Film Studies, particularly in Cognitive Film Theory and Philosophy of Film. Its affective and semantic analyses of film experience (studies of embodied conceptualisation), connecting Spinoza's thought to the analysis of audiovisual media, will also be of interest to Philosophy scholars and in academic courses of film theory, film-philosophy and cognitive film studies.

This work outlines a new methodology for film analysis based on the radical materialist thought of Baruch Spinoza, re-evaluating contemporary cognitive media theory and philosophical theories on the emotional and intellectual aspects of film experience. Sticchi's exploration of Spinozian philosophy creates an experiential constructive model to blend the affective and intellectual aspects of cognition, and to combine it with different philosophical interpretations of film theory. Spinoza's embodied philosophy rejected logical and ethical dualisms, and established a perfect parallelism between sensation and reason and provides the opportunity to address negative emotions and sad passions without referring exclusively to traditional notions such as catharsis or sublimation, and to put forth a practical/embodied notion of Film-Philosophy. This new analytical approach is tested on four case studies, films that challenge the viewer's emotional engagement since they display situations of cosmic failure and depict controversial and damaged characters: A Serious Man (2009); Melancholia (2011); The Act of Killing (2012) and Only Lovers Left Alive (2013). This book is an important addition to the literature in Film Studies, particularly in Cognitive Film Theory and Philosophy of Film. Its affective and semantic analyses of film experience (studies of embodied conceptualisation), connecting Spinoza's thought to the analysis of audiovisual media, will also be of interest to Philosophy scholars and in academic courses of film theory, film-philosophy and cognitive film studies.

This book examines a corpus of films and TV series released since the global financial crisis, addressing them as emblematic expressions of our age of precarity. The analysis of the motifs and characters of these case studies is built around notions originating from Mikhail Bakhtin's literary theory and, in particular, the concept of chronotope, affirming the material and dynamic connection between form and content in artistic experience. This book observes how precarious lives are enacted in forms of spatio-temporal compositions which carry conceptual and ethical challenges for their viewers. This book falls within the film-philosophy framework and, although primarily directed to an academic audience, it provides an interdisciplinary account of the notion of cinematic precarity. It puts the embodied analysis of viewers' ethical participation in close dialogical relationship with a philosophical and sociological examination of current dynamics of inequality and exclusion.