Download PDF by Fabio Vighi: Critical Theory and Film: Rethinking Ideology Through Film

By Fabio Vighi

ISBN-10: 1441111425

ISBN-13: 9781441111425

Critical idea and picture brings jointly severe idea and picture to reinforce the serious capability of either.

The booklet specializes in the Frankfurt tuition, so much particularly the works of Adorno and Horkheimer, in addition to linked thinkers.

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.

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Additional resources for Critical Theory and Film: Rethinking Ideology Through Film Noir

Example text

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.

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Critical Theory and Film: Rethinking Ideology Through Film Noir by Fabio Vighi


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