By Fabio Vighi
It seeks to illustrate that cinema can assist severe conception repoliticize tradition and society and verify the theoretical and political effect of cinematic wisdom. After discussing how the Frankfurt tuition observed cinema as an software of capitalism use to advertise the cultural and political regimentation of the hundreds, Vighi then proceeds to illustrate that severe thought can in reality recommend a unique verdict at the innovative capability of cinema.
Each bankruptcy specializes in a key severe idea idea that is defined and redefined via movie research to resolve the hidden presuppositions and so much radical results of severe concept.
A distinct contribution to the literature, this quantity within the serious thought and modern Society sequence provide an cutting edge interpreting of movie as a severe device, drawing at the most up-to-date advancements in Lacanian theory.
Read or Download Critical Theory and Film: Rethinking Ideology Through Film Noir PDF
Best film & television books
Among 1929 and 1970, Dmitri Shostakovich wrote nearly forty movie ratings of Soviet movies, from Stalinist cult epics to classical literary variations. His lengthy and distinct cinema occupation has hitherto been missed. Combining research and anecdote, John Riley offers this primary account to envision the ratings and their contexts within the motion pictures for which they have been written, the ways that modern occasions formed either movies and ratings, and the way he thought of, constructed and utilized his movie song.
It used to be believed that September eleventh might ensure forms of motion pictures out of date, comparable to motion thrillers crackling with explosions or high-casualty blockbusters the place the hero escapes unscathed. whereas the creation of those motion pictures did ebb, the total effect of the assaults on Hollywood's artistic output remains to be taking form.
Fernsehen als Spiegel der Gesellschaft. Die "Geschichte des deutschen Fernsehens beschreibt die Entwicklung des Mediums von seinen technischen Anfängen im 19. Jahrhundert über seine Entwicklung in der Bundesrepublik und der ehemaligen DDR bis in die Gegenwart. Als Spiegel der gesellschaftlichen Entwicklung zeigen sich in den Programmen des öffentlich-rechtlichen und privaten Fernsehens die heimlichen Sehnsüchte und Wünsche einer Gesellschaft, bringen Kontroversen und Skandale die vorhandenen unterschiedlichen Vorstellungen von der Welt zur Sprache.
- The Great War in Popular British Cinema of the 1920s: Before Journey’s End
- World Cinema and the Ethics of Realism
- Marxism and history
- Computers for Imagemaking
- The Actors Studio and Hollywood in the 1950s: A History of Theatrical Realism
- The Literary Monster on Film: Five Nineteenth Century British Novels and Their Cinematic Adaptations
Additional resources for Critical Theory and Film: Rethinking Ideology Through Film Noir
No attempt is made to comprehend the artwork aesthetically; instead, the latter is automatically turned into exchange value, an object of consumption to be sold and proﬁted from. It is easy to read into this plot the Adornian critique of mass culture as a diabolical corruptor of genuine art. Each character, except the sophisticated art critic who recognizes the signiﬁcance of Chris’s paintings, is an ordinary American citizen displaying a remarkable insensitivity towards culture and an equally notable uniformity of bad taste, trapped in a homogenized environment where anything remotely cultural is conceived as either a commodity or a hobby.
Robinson) is a humble, undistinguished clerk in 1930s’ New York who in his free time enjoys painting, secluded in the bathroom of his ﬂat. Neither his philistine wife nor his friends are able to appreciate the quality of his work, which, since it does not conform to their unsophisticated understanding of pictorial realism, they deem odd and even ludicrous. The paintings, to which Chris himself does not attach any speciﬁc artistic signiﬁcance (he paints as a hobby), are eventually appropriated by a young couple, Kitty (Joan Bennett) and Johnny (Dan Duryea), who are unmistakably characterized as vulgarians, models of the new mass-consumer type: Kitty is an empty-headed young woman thoroughly desensitized by the amount of rubbish she consumes (including ‘cultural junk’, as underlined by her obsession with the ‘Melancholy Baby’ tune she plays again and again on the phonograph), while Johnny is a reptile-like, repugnantly cynical crook with petit-bourgeois aspirations.
THE DIALECTIC’S NARROW MARGIN 21 to elude the frame’s compass. In psychoanalytic (Lacanian) terms, we would say that every symbolization of reality, in itself necessary, produces an enigmatic surplus of sense (the Real), which persistently disturbs the symbolic space, threatening its consistency and our relative ‘peace of mind’. It is through this awareness that we are able to explain the typically noirish effect of what I would call ‘the hole within the frame’: Somewhere within the diegetic space, the frame itself has redoubled, it has reproduced itself in inverted form, thus creating the typically paranoid feeling that the (noir) character, in his effort to control reality, is actually being controlled, watched by an invisible gaze.
Critical Theory and Film: Rethinking Ideology Through Film Noir by Fabio Vighi