Download Cinematic Thinking: Philosophical Approaches to the New by James Phillips PDF

By James Phillips

Each one essay in Cinematic pondering is equipped round an interpretation of a postwar filmmaker and the philosophical concerns his or her paintings increases. The filmmakers lined are Alfred Hitchcock, Luchino Visconti, Michelangelo Antonioni, Robert Altman, Carlos Saura, Glauber Rocha, Margarethe von Trotta, Rainer Werner Fassbinder, Wim Wenders, and Claire Denis. because the authors accrued listed below are philosophers, instead of movie critics, the amount methods its matters with a distinct set of pursuits and commitments from the majority of works in movie idea. reminiscence, judgment, subjectivity, terrorism, feminism, hope, race relatives, adventure, the paintings of mourning, and utopia are one of the questions mentioned in terms of essentially the most major motion pictures of the final fifty years. This assortment analyzes the theoretical and political contexts within which the movies have been made and examines their reception right down to the current day.

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Extra info for Cinematic Thinking: Philosophical Approaches to the New Cinema

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In Gruppo difamiglia in un interno the forces of an art connoisseurship vanishing completely into the past clash with the forces of an unexpected love that wavers between physical and paternal love and neglects to produce a continuity, to pass on a legacy. The son, who nonetheless is not a son, dies before his father and thereby condemns him likewise to death. To the second group belong those films in which the possible is the occasion of a revolt against social exploitation, against the unjust distribution of property.

The failing voice, the voice as sound, is in the work of art not a free-floating effect. 30 Alexander Garcfa Düttmann In Morte a Venezia, a film in which Visconti is extremely sparing with dialogue, word and image drift apart. The words dominating the brief, inserted flashbacks, the arguments about the life and death of art, have something awkward and clumsy about them, something aesthetically vulgar that does not fit the image. 9 Do the flashbacks therefore underline the helplessness and tedium of the words while the music pursues an investigation of the gestural as that which is the essence of cinema?

And whenever something bothers him, man reacts, but he reacts badly, only on erotic impulse, and he is unhappy. The tragedy of Lavventura stems directly from an erotic impulse of this type—unhappy, miserable, futile. To be critically aware of the vulgarity and the futility of such an overwhelming erotic impulse, as is the case with the protagonist in Lavventura, is not enough or serves no purpose. And here we witness the crumbling of a myth, which proclaims it is enough for us to know, to be critically conscious Michelangelo Antonioni 45 of ourselves, to analyze ourselves in all our complexities and in every facet of our personality.

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