Theodor Adorno and Film Theory
The Fingerprint of Spirit
(Sprache: Englisch)
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...
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Klappentext zu „Theodor Adorno and Film Theory “
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.
Inhaltsverzeichnis zu „Theodor Adorno and Film Theory “
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)
Autoren-Porträt von B. Wall
Brian Wall is an assistant professor in the Cinema Department at Binhamton University, SUNY.
Bibliographische Angaben
- Autor: B. Wall
- 2013, 1st ed. 2013, XI, 173 Seiten, Maße: 14 x 21,6 cm, Kartoniert (TB), Englisch
- Verlag: Springer, Berlin
- ISBN-10: 1349455067
- ISBN-13: 9781349455065
Sprache:
Englisch
Pressezitat
To come.
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