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Drawing on the work of contemporary French philosopher Jean-Luc
Nancy, Cinema and Contact investigates the aesthetics and politics
of touch in the cinema of three of the most prominent and
distinctive filmmakers to have emerged in France during the last
fifty years: Robert Bresson, Marguerite Duras and Claire Denis.
Countering the dominant critical account of touch elaborated by
recent models of embodied spectatorship, Laura McMahon argues that
cinema offers a privileged space for understanding touch in terms
of spacing and withdrawal rather than immediacy an continuity. Such
a deconstructive configuration of touch is shown here to have
far-reaching implications, inviting an innovative rethinking of
politics, aesthetics and theology via the textures of cinema. The
first study to bring the thought of Nancy into sustained dialogue
with a series of detailed analyses of films, Cinema and Contact
also forges new interpretative perspectives on Bresson, Duras and
Denis, tracing a compelling two-way exchange between cinema and
philosophy throughout.
From the proto-cinematic sequencing of animal motion in the
nineteenth century to the ubiquity of animal videos online, the
histories of animal life and the moving image are enigmatically
interlocked. Animal Life and the Moving Image is the first
collection of essays to offer a sustained focus on the relations
between screen cultures and non-human animals. The volume brings
together some of the most important and influential writers working
on the non-human animal's significance for cultures and theories of
the moving image. It offers innovative analyses of the
representation of animals across a wide range of documentary,
fiction, mainstream and avant-garde practices, from early cinema to
contemporary user-generated media. Individual chapters consider
King Kong, The Birds, The Misfits, The Cove, Grizzly Man and
Microcosmos, the work of Sergei Eisenstein, Robert Bresson, Malcolm
Le Grice, Peter Greenaway, Carolee Schneemann and Isabella
Rossellini, and YouTube stars Christian the lion and Maru the cat.
This book, drawing on the work of contemporary French philosopher
Jean-Luc Nancy, investigates the aesthetics and politics of touch
in the cinema of three of the most prominent and distinctive
filmmakers to have emerged in France: Robert Bresson, Marguerite
Duras and Claire Denis.
Focusing on a recent wave of international art cinema, Animal
Worlds offers the first sustained analysis of the relations between
cinematic time and animal life. Through an aesthetic of extended
duration, films such as Bestiaire (2010), The Turin Horse (2011)
and A Cow's Life (2012) attend to animal worlds of sentience and
perception, while registering the governing of life through
biopolitical regimes. Bringing together Gilles Deleuze's writings
on cinema and on animals - while drawing on Jacques Derrida,
Jean-Christophe Bailly, Nicole Shukin and others - the book argues
that these films question the biopolitical reduction of animal life
to forms of capital, opening up realms of virtuality, becoming and
alternative political futures.
Focusing on a recent wave of international art cinema, Animal
Worlds offers the first sustained analysis of the relations between
cinematic time and animal life. Through an aesthetic of extended
duration, films such as Bestiaire (2010), The Turin Horse (2011)
and A Cow's Life (2012) attend to animal worlds of sentience and
perception, while registering the governing of life through
biopolitical regimes. Bringing together Gilles Deleuze's writings
on cinema and on animals - while drawing on Jacques Derrida,
Jean-Christophe Bailly, Nicole Shukin and others - the book argues
that these films question the biopolitical reduction of animal life
to forms of capital, opening up realms of virtuality, becoming and
alternative political futures.
Hannah Arendt and the History of Thought, edited by Daniel Brennan
and Marguerite La Caze, enrichens and deepens scholarship on
Arendt's relation to philosophical history and traditions. Some
contributors analyze thinkers not often linked to Arendt, such as
William Shakespeare, Hans Jonas, and Simone de Beauvoir. Other
contributors treat themes that are pressing and crucial to
understanding Arendt's work, such as love in its many forms,
ethnicity and race, disability, human rights, politics, and
statelessness. The collection is anchored by chapters on Arendt's
interpretation of Kant and her relation to early German Romanticism
and phenomenology, while other chapters explore new perspectives,
such as Arendt and film, her philosophical connections with other
women thinkers, and her influence on Eastern European thought and
activism. The collection expands the frames of reference for
research on Arendt-both in terms of using a broader range of texts
like her Denktagebuch and in examining her ideas about judgment,
feminism, and worldliness in this wider context.
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