49,99 €
The Politics and Poetics of Cinematic Realism
The Politics and Poetics of Cinematic Realism
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The Politics and Poetics of Cinematic Realism
The Politics and Poetics of Cinematic Realism
El. knyga:
49,99 €
Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almod�var, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society.Kappelhoff applies the Deleuzean practice of thinking in images to his…

The Politics and Poetics of Cinematic Realism (el. knyga) (skaityta knyga) | knygos.lt

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Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almod�var, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society.



Kappelhoff applies the Deleuzean practice of thinking in images to his analysis of films and incorporates the approaches of Jacques Ranci�re and Richard Rorty, who see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience.

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Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almod�var, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society.



Kappelhoff applies the Deleuzean practice of thinking in images to his analysis of films and incorporates the approaches of Jacques Ranci�re and Richard Rorty, who see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience.

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