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What is the fundamental nature of the filmic object: is it a commodity or is it, can it be, art? What would that mean - can it still matter? This book introduces the thought of Theodor Adorno into film studies to repair the schism that characterizes the field, as historical and cultural modes of analysis displace theoretical and philosophical ones.
What is the fundamental nature of the filmic object: is it a commodity or is it, can it be, art? What would that mean - can it still matter? This book introduces the thought of Theodor Adorno into film studies to repair the schism that characterizes the field, as historical and cultural modes of analysis displace theoretical and philosophical ones.
Brian Wall is an assistant professor in the Cinema Department at Binhamton University, SUNY.
Inhaltsangabe
Introduction: The Fingerprint of Spirit 1. The Subject/Object of Cinema: The Maltese Falcon (1941) 2. "A Deeper Breath": From Body to Spirit in Kiss Me Deadly (1955) 3. Negative Dioretix: Repo Man (1984) 4. "Jackie Treehorn Treats Objects Like Women!": Two Types of Fetishism in The Big Lebowski (1988)
Introduction: The Fingerprint of Spirit 1. The Subject/Object of Cinema: The Maltese Falcon (1941) 2. "A Deeper Breath": From Body to Spirit in Kiss Me Deadly (1955) 3. Negative Dioretix: Repo Man (1984) 4. "Jackie Treehorn Treats Objects Like Women!": Two Types of Fetishism in The Big Lebowski (1988)
Introduction: The Fingerprint of Spirit 1. The Subject/Object of Cinema: The Maltese Falcon (1941) 2. "A Deeper Breath": From Body to Spirit in Kiss Me Deadly (1955) 3. Negative Dioretix: Repo Man (1984) 4. "Jackie Treehorn Treats Objects Like Women!": Two Types of Fetishism in The Big Lebowski (1988)
Introduction: The Fingerprint of Spirit 1. The Subject/Object of Cinema: The Maltese Falcon (1941) 2. "A Deeper Breath": From Body to Spirit in Kiss Me Deadly (1955) 3. Negative Dioretix: Repo Man (1984) 4. "Jackie Treehorn Treats Objects Like Women!": Two Types of Fetishism in The Big Lebowski (1988)
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