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.

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.

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.