Cinema and Agamben

Cinema and Agamben brings together a group of established scholars of film and visual culture to explore the nexus between the moving image and the influential work of Italian philosopher Giorgio Agamben.

Cinema and Agamben

Author: Henrik Gustafsson

Publisher: Bloomsbury Publishing USA

ISBN: 1623561256

Page: 264

View: 175

Cinema and Agamben brings together a group of established scholars of film and visual culture to explore the nexus between the moving image and the influential work of Italian philosopher Giorgio Agamben. Including two original texts by Agamben himself, published here for the first time in English translation, these essays facilitate a unique multidisciplinary conversation that fundamentally rethinks the theory and praxis of cinema. In their resourceful analyses of the work of artists such as David Claerbout, Jean-Luc Godard, Philippe Grandrieux, Michael Haneke, Jean Rouch, and others, the authors put to use a range of key concepts from Agamben's rich body of work, like biopolitics, de-creation, gesture, potentiality and profanation. Sustaining the eminently interdisciplinary scope of Agamben's writing, the essays all bespeak the importance of Agamben's thought for forging new beginnings in film theory and for remedying the elegiac proclamations of the death of cinema so characteristic of the current moment.

Work of Giorgio Agamben

The fact that the title retains an inherent ambivalence and repetition means that it
in itself fulfils the conditions of cinema that Agamben puts forward. The film itself
is, like the majority of Debord's films, comprised of détourned images and ...

Work of Giorgio Agamben

Author: Justin Clemens

Publisher: Edinburgh University Press

ISBN: 074868901X

Page: 224

View: 971

This collection of essays, newly available in paperback, seeks to explore Agamben's work from philosophical and literary perspectives, thereby underpinning its place within larger debates in continental philosophy.

Agamben Dictionary

It is precisely gesture's alienation in and as this spectacular sphere – along with
the special “kind of eye” cinema will bring to gesture – that makes the “element of
cinema”, as Agamben will argue, the gesture and not the image (ME, 55), and ...

Agamben Dictionary

Author: Alex Murray

Publisher: Edinburgh University Press

ISBN: 0748688633

Page: 224

View: 364

This the first dictionary dedicated to the work of Giorgio Agamben, the radical Italian philosopher. Bringing together leading scholars in the field, it provides a unique and comprehensive introduction to his work, offering readers a range of clear and c

From Agamben to Zizek

Rancière not only, and repeatedly, calls this a bogus move on the part of critics (
since cinema constructs and depends upon all those same old techniques of plot
and narrative) but also goes on to show that everything critics wish to celebrate ...

From Agamben to Zizek

Author: Jon Simons

Publisher: Edinburgh University Press

ISBN: 0748686746

Page: 288

View: 830

In these 15 taster essays you will discover the key concepts and critical approaches of the theorists who have had the most significant impact on the humanities since 1990.

Agamben s Political Ontology of Nudity in Literature and Art

Agamben presents this example of the porn star's face to support his position that
we need to beware of such capturing and ... This move might be read as an
allegory for transforming the spectacle in film into the type of cinema Agamben ...

Agamben   s Political Ontology of Nudity in Literature and Art

Author: Frances Restuccia

Publisher: Routledge

ISBN: 0429537336

Page: 206

View: 491

This volume develops the central (though neglected) Agambenian concept of nudity along with its crucial political implications. The book discovers within The Use of Bodies a philosophical path to Agamben’s "ontology of nudity," as it is subtended by his notion of the messianic—a dual temporality of form in motion reflected in the image of a whirlpool that is autonomous although no drop of water belongs to it separately. Drawn from Paul and Benjamin (rather than Derrida), Agamben’s messianic is elaborated in this study through its embodiment in literature—Woolf’s To the Lighthouse, James’s The Aspern Papers, Brodsky’s Watermark, and Mann’s Death in Venice—in response to Agamben’s insistence on the wedding of poetry and philosophy. In particular, Coetzee’s Disgrace gives poetic form to Agamben’s focus on the dissolution of the human/animal border, the salvation of the unsavable, and "nudity"—all to illustrate Agamben’s Open without a closedness. This text shows how art serves as the house of philosophy also by taking up the nude in visual art, making the case that, in comprising chronos and kairos (the two messianic components of Agamben’s ontology of nudity), art demonstrates the constitution of form-of-life for the viewer. Emphasizing Agamben’s privileged non-unveilability/nudity, this book finally examines two major missed encounters, with Heidegger and Lacan, philosophers of the veil. Veiling to Agamben correlates with the sovereignty/bare life structure of the exception, which his ontology of nudity is meant to deactivate—as there is no such thing as a bare life.

Ex centric Cinema

Yet the story of cinema became (through its institutionalization) one in which the human swiftly assumed centrality through the literary crafting of story, character and the expression of interiority.

Ex centric Cinema

Author: Janet Harbord

Publisher: Bloomsbury Publishing USA

ISBN: 1628922400

Page: 272

View: 346

In the beginning, cinema was an encounter between humans, images and machine technology, revealing a stream of staccato gestures, micrographic worlds, and landscapes seen from above and below. In this sense, cinema's potency was its ability to bring other, non-human modes of being into view, to forge an encounter between multiple realities that nonetheless co-exist. Yet the story of cinema became (through its institutionalization) one in which the human swiftly assumed centrality through the literary crafting of story, character and the expression of interiority. Ex-centric Cinema takes an archaeological approach to the study of cinema through the writings of philosopher Giorgio Agamben, arguing that whilst we have a century-long tradition of cinema, the possibility of what cinema may have become is not lost, but co-exists in the present as an unexcavated potential. The term given to this history is ex-centric cinema, describing a centre-less moving image culture where animals, children, ghosts and machines are privileged vectors, where film is always an incomplete project, and where audiences are a coming community of ephemeral connections and links. Discussing such filmmakers as Harun Farocki, the Lumiere Brothers, Guy Debord and Wong Kar-wai, Janet Harbord draws connections with Agamben to propose a radically different way of thinking about cinema.

Guy Debord and the Situationist International

Difference and Repetition: On Guy Debord's Films GIORGIO AGAMBEN
TRANSLATED BY BRIAN HOLMES My aim here is to define certain aspects of
Debord's poetics, or rather of his compositional technique, in the area of cinema.

Guy Debord and the Situationist International

Author: Tom McDonough

Publisher: MIT Press

ISBN: 9780262633000

Page: 492

View: 973

This volume is a revised and expanded version of a special issue of the journalOctober (Winter 1997) that was devoted to the work of the Situationist International (SI). The firstsection of the issue contained previously unpublished critical texts, and the second sectioncontained translations of primary texts that had previously been unavailable in English. Theemphasis was on the SI's profound engagement with the art and cultural politics of their time(1957-1972), with a strong argument for their primarily political and activist stance by two formermembers of the group, T. J. Clark and Donald Nicholson-Smith.Guy Debord and the SituationistInternational supplements both sections. It reprints important, hard to find essays by GiorgioAgamben, Libero Andreotti, Jonathan Crary, Thomas Y. Levin, Greil Marcus, and Tom McDonough anddoubles the number of translations of primary texts, which now encompass a broader and morerepresentative range of the SI's writings on culture and language. In a field still dominated byhagiography, the critical texts were selected for their willingness to confront critically thehistory and legacy of the SI. They examine the group within the broader framework of the historicaland neo-avant-gardes and, beyond that, the postwar world in general. The translations trace the SI'sreflections on the legacy of the avant-garde in art and architecture, particularly on the linguisticand spatial significance of montage aesthetics. Many of the translated works are by Guy Debord(1932?1994), the impresario of the SI, especially known for his book The Society of theSpectacle.

Giorgio Agamben

CINEMA. While the importance of language for Agamben has become evident
throughout this book, it should also be seen as a theory of representation more
broadly, one in which a general aesthetic – to which, as we have seen, Agamben
 ...

Giorgio Agamben

Author: Alex Murray

Publisher: Routledge

ISBN: 1136999639

Page: 168

View: 111

Giorgio Agamben is one of the most important and controversial figures in contemporary continental philosophy and critical theory. His work covers a broad array of topics from biblical criticism to Guantanamo Bay and the ‘war on terror’. Alex Murray explains Agamben’s key ideas, including: an overview of his work from first publication to the present clear analysis of Agamben’s philosophy of language and life theories of ethics and ‘witnessing’ the relationship between Agamben’s political writing and his work on aesthetics and poetics. Investigating the relationship between politics, language, literature, aesthetics and ethics, this guide is essential reading for anyone wishing to understand the complex nature of modern political and cultural formations.

The Cinema of Michael Winterbottom

For example, Yosefa Loshitzky groups Code 46 alongside In This World and The
Road to Guantánamo calling them 'The Camp trilogy', since the three films can be
read as an elaboration of Giorgio Agamben's contention that, in their exercise ...

The Cinema of Michael Winterbottom

Author: Bruce Bennett

Publisher: Columbia University Press

ISBN: 0231850530

Page: 224

View: 943

This comprehensive study of prolific British filmmaker Michael Winterbottom explores the thematic, stylistic, and intellectual consistencies running through his eclectic and controversial body of work. This volume undertakes a close analysis of a TV series directed by Winterbottom and sixteen of his films ranging from television dramas to transnational co-productions featuring Hollywood stars, and from documentaries to costume films. The critique is centered on Winterbottom's collaborative working practices, political and cultural contexts, and critical reception. Arguing that his work delineates a 'cinema of borders', this study examines Winterbottom's treatment of sexuality, class, ethnicity, and national and international politics, as well as his quest to adequately narrate inequality, injustice, and violence.

Film Theory and Philosophy

There is little doubt from the text of “Notes on Gesture” that Agamben speaks to
this particular appreciation of history with a degree of sadness. As the apparatus
of continuance, cinema occupies the central problematic of this disappearing act.

Film  Theory and Philosophy

Author: Felicity Colman

Publisher: Routledge

ISBN: 1317492447

Page: 400

View: 159

Philosophy, and in particular continental philosophy, has provided a conceptual underpinning for cinema since its beginnings, especially in the development of cinematic aesthetics. In its turn, film has rethought the abstractions of space and time and the categories of sex and gender and has created new concepts which illuminate phenomenology, metaphysics and epistemology. "Film and Philosophy" brings together leading scholars to provide a detailed overview of the key thinkers who have shaped the field of film philosophy. The thinkers include continental and 'post-continental' philosophers, analytic philosophers, film-makers, film reviewers, sociologists, and cultural theorists.The essays reveal how philosophy can be applied to film analysis and how film can be used to illustrate philosophical problems. But more importantly, the essays explore how film has shaped what philosophy thinks and how philosophy has lead to a reappraisal of film. The book will prove an invaluable reference and guide to readers interested in a deeper understanding of the issues and insights presented by film philosophy." Film and Philosophy" includes essays on: Hugo Munsterberg, Vilem Flusser, Siegfried Kracauer, Theodor Adorno, Antonin Artaud, Henri Bergson, Maurice Merleau-Ponty, Emmanuel Levinas, Andre Bazin, Roland Barthes, Serge Daney, Jean-Luc Godard, Stanley Cavell, Jean-Luc Nancy, Jacques Derrida, Gilles Deleuze, Sarah Kofman, Paul Virilio, Jean Baudrillard, Jean-Francois Lyotard, Fredric Jameson, Felix Guattari, Raymond Bellour, Christian Metz, Julia Kristeva, Laura Mulvey, Homi Bhabha, Slavoj Zizek, Stephen Heath, Alain Badiou, Jacques Ranciere, Leo Bersani, Giorgio Agamben, and Michel Chion.

Agamben s Joyful Kafka

Agamben's story goes as follows. One night Sancho Panza goes to a cinema,
looking for Don Quixote. He cannot get to him because the cinema is full and sits
down next to a girl, probably Dulcinea, who offers him a lollipop. The film begins
 ...

Agamben s Joyful Kafka

Author: Anke Snoek

Publisher: Bloomsbury Publishing USA

ISBN: 1441172491

Page: 160

View: 120

Both Giorgio Agamben and Franz Kafka are best known for their gloomy political worldview. A cautious study of Agamben's references on Kafka, however, reveals another dimension right at the intersection of their works: a complex and unorthodox theory of freedom. The inspiration emerges from Agamben's claims that 'it is a very poor reading of Kafka's works that sees in them only a summation of the anguish of a guilty man before the inscrutable power'. Virtually all of Kafka's stories leave us puzzled about what really happened. Was Josef K., who is butchered like a dog, defeated? And what about the meaningless but in his own way complete creature Odradek? Agamben's work sheds new light on these questions and arrives, through Kafka, at different strategies for freedom at the point where this freedom is most blatantly violated.

Psychoanalyzing Cinema

perspective ofthereader butalso to insistthat a world mustfirstbe made (Agamben,
. Beyond its composition as a cinematic signforbreaking normative patterns of
representation, the temporal continuityof character development, and tropes of ...

Psychoanalyzing Cinema

Author: j. jagodzinski

Publisher: Springer

ISBN: 1137116943

Page: 281

View: 422

The essays within this collection explore the possibilities and potentialities of all three positions, presenting encounters that are, at times contradictory, at other times supportive, as well as complementary. The collection thereby enriches the questions that are being raised within contemporary cinematic studies.

The Cinema of Terry Gilliam

There is always the potential for a state of 'exception', a 'Permanent Emergency
Code', to immediately reinscribe us as disciplinary subjects.4 It is helpful to recall
here the distinction Giorgio Agamben draws between bios and zoē – bios ...

The Cinema of Terry Gilliam

Author: Jeff Birkenstein

Publisher: Columbia University Press

ISBN: 0231850387

Page: 256

View: 355

Terry Gilliam has been making movies for more than forty years, and this volume analyzes a selection of his thrilling directorial work, from his early films with Monty Python to The Imaginarium of Doctor Parnussus (2009). The frenetic genius, auteur, and social critic continues to create indelible images on screen--if, that is, he can get funding for his next project. Featuring eleven original essays from an international group of scholars, this collection argues that when Gilliam makes a movie, he goes to war: against Hollywood caution and convention, against American hyper-consumerism and imperial militarism, against narrative vapidity and spoon-fed mediocrity, and against the brutalizing notion and cruel vision of the "American Dream."

Critical Cinema

... cause and effect that gives theory and cinema their specifiable places.
BIBLIOGRAPHY Agamben, G. (2007) Infancy and History: On the Destruction
ofExperience. London: Verso. Althusser, L. (1971) 'A Letter on Art' in Lenin and
Philosophy.

Critical Cinema

Author: Clive Myer

Publisher: Columbia University Press

ISBN: 023150456X

Page: 224

View: 112

Critical Cinema: Beyond the Theory of Practice purges the obstructive line between the making of and the theorising on film, uniting theory and practice in order to move beyond the commercial confines of Hollywood. Opening with an introduction by Bill Nichols, one of the world's leading writers on nonfiction film, this volume features contributions by such prominent authors as Noel Burch, Laura Mulvey, Peter Wollen, Brian Winston and Patrick Fuery. Seminal filmmakers such as Peter Greenaway and Mike Figgis also contribute to the debate, making this book a critical text for students, academics, and independent filmmakers as well as for any reader interested in new perspectives on culture and film.

Means Without End

Notes on Politics Giorgio Agamben ... the same way in which Benjamin once
compared the dialectical image to those little books, forerunners of
cinematography, that gave the impression of movement when the pages were
turned over rapidly).

Means Without End

Author: Giorgio Agamben

Publisher: U of Minnesota Press

ISBN: 9780816630363

Page: 153

View: 808

In this critical rethinking of the categories of politics within a new sociopolitical and historical context, the distinguished political philosopher Giorgio Agamben builds on his previous work to address the status and nature of politics itself. Bringing politics face-to-face with its own failures of consciousness and consequence, Agamben frames his analysis in terms of clear contemporary relevance. He proposes, in his characteristically allusive and intriguing way, a politics of gesture--a politics of means without end.

Cinema and Counter History

This statement speaks to his conception of language and cinema, particularly in
relation to using the “film medium, as a speaking ... In Giorgio Agamben's terms,
the men become exemplary of “bare life” in which life “becomes the project and ...

Cinema and Counter History

Author: Marcia Landy

Publisher: Indiana University Press

ISBN: 0253016193

Page: 312

View: 534

Despite claims about the end of history and the death of cinema, visual media continue to contribute to our understanding of history and history-making. In this book, Marcia Landy argues that rethinking history and memory must take into account shifting conceptions of visual and aural technologies. With the assistance of thinkers such as Gilles Deleuze and Félix Guattari, Cinema and Counter-History examines writings and films that challenge prevailing notions of history in order to explore the philosophic, aesthetic, and political stakes of activating the past. Marshaling evidence across European, African, and Asian cinema, Landy engages in a counter-historical project that calls into question the certainty of visual representations and unmoors notions of a history firmly anchored in truth.

The Cinema of Alexander Sokurov

Borrowing on Agamben's theories, Yannick Lemarié (2009: 115–16) argues that
Hitler's character is akin to a tick, for whom the world exists only in terms of need
and body temperature; or a moth, attracted to and destroyed by the flame which ...

The Cinema of Alexander Sokurov

Author: Jeremi Szaniawski

Publisher: Columbia University Press

ISBN: 0231850522

Page: 256

View: 244

One of the last representatives of a brand of serious, high-art cinema, Alexander Sokurov has produced a massive oeuvre exploring issues such as history, power, memory, kinship, death, the human soul, and the responsibility of the artist. Through contextualization and close readings of each of his feature fiction films (broaching many of his documentaries in the process), this volume unearths a vision of Sokurov's films as equally mournful and passionate, intellectual, and sensual, and also identifies in them a powerful, if discursively repressed, queer sensitivity, alongside a pattern of tensions and paradoxes. This book thus offers new keys to understand the lasting and ever-renewed appeal of the Russian director's Janus-like and surprisingly dynamic cinema – a deeply original and complex body of work in dialogue with the past, the present and the future.

National Cinemas and World Cinema

Elements of Georgio Agamben ' s political theory are used to indicate how H3
represents the disquiet among republican prisoners in response to the British
government ' s attempt to depoliticize their struggle by reducing their socio ...

National Cinemas and World Cinema

Author: Kevin Rockett

Publisher: Four Courts PressLtd

ISBN:

Page: 149

View: 522

This is the third volume of papers from the Irish Postgraduate Film Research Seminar designed to encourage Irish film scholarship and the study of Irish film. This collection includes new research on a wide range of topics, including Irish, European and Asian film. There is a particular emphasis upon the international context of film production and reception and the volume includes the keynote lecture on 'new waves' in world cinema by the distinguished film critic and scholar, Dudley Andrew. Intended to provide a platform for a growing body of work by young Irish scholars on Irish and other cinemas, this volume provides new discussions of Irish and international film.

Closed Circuits

In Michel Foucault's terms, related to Louis Althusser's, and since taken up by
Giorgio Agamben (in What Is an Apparatus?)—as well as in terms related to the
politics of ideological critique behind apparatus theory at large in cinema ...

Closed Circuits

Author: Garrett Stewart

Publisher: University of Chicago Press

ISBN: 022620135X

Page: 296

View: 899

The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware of its power—and potential for abuse. In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to Déjà Vu, Source Code, and The Bourne Legacy, in which cinema has articulated—and performed—the drama of inspection’s unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues, speak to something more foundational in the very work of cinema. The shared axis of montage and espionage—with editing designed to draw us in and make us forget the omnipresence of the narrative camera—extends to larger questions about the politics of an oversight regime that is increasingly remote and robotic. To such a global technopticon, one telltale response is a proliferating mode of digitally enhanced “surveillancinema.”