Rethinking Brechtian film theory and cinema:
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Edinburgh
Edinburgh University Press
[2018]
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | VIII, 262 Seiten Illustrationen 24 cm |
| ISBN: | 9781474418904 |
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Datensatz im Suchindex
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Contents Acknowledgements Notes on the Text List of Figures Introduction v vii ix i Part i Brechtian Film Theory 1 Key Concepts The Dialectic The Individual as a Nexus The Gestie Principle: Between Brecht, Eisenstein and Deleuze ‘Humour is a Sense of Distance’ 13 13 20 28 39 2 Photography and Film The Photographic Image The Apparatus and the Agency of the Machine 44 44 39 3 Modernism as Realism Brecht, Bazin and Lukács On Sound/Music Some Thoughts on Brecht and Genre 63 63 70 77 4 Brecht in Film Theory From Close Up to the Grand Theory Noël Burch The Cognitivist Critique Rancière and the post-Brechtian 83 83 91 96 101
IV CONTENTS Part 2 Brechtian Cinema The Revisionist History Film 5 Re-visioning History Defining the Revisionist History Film Totality is History: Szegénylegények (The Round-Up, 1966) and Allonsanficn ( 1974) 111 111 6 Revisiting National Traumas Dealing with Fascism: Professor Mamlock (1961), Das schreckliche Mädchen ( The Nasty Girl, 1990) Epic Cinema: Ο Θίασος (The Travelling Players, 1975), 1900 (1976) 128 119 128 138 The Essay Film 7 Beyond Auteurism: the Dialectics of the Essay Film The Disappearance of the Subject in Writing Representation as Unfinished Material: Thomas Heise’s Material (2009) 151 151 8 Pedagogical Essay Films Agitprop and the Crisis: Brecht die Macht der Manipúlateme (Break the Power ofthe Manipulators, 1967), Fascism Inc. (2014) The Lehrstück on Film: La Commune (Paris, 1871) (2000), The Act ofKilling (2012) 168 161 168 178 Cinemas of Cruelty 9 Brecht and Artaud The Politics of Cruelty: Brecht and Artaud From Theatre to Film: The Brig ( 1964), Marat/Sade ( 1967) 189 189 194 10 Cruelty as Anti-commodity Everyday Fascism: Import/Export (2007), The Rebellion ofRed Maria (2011) The Postdramatic on Screen: Katzelmacher (1969), Die linkshändige Frau (The Left-handed Woman, 1978) 205 Epilogue 225 Bibliography Index 235 252 205 215
‘Brecht’s experiences with film were not always happy, but the Brechtian influence on film and its theory is colossal. Koutsourakis’ book masterfully sets out the wide scope of Brecht’s aesthetics, from his 1923 venture with slapstick to the Brechtian footprints in the essay film, Realist and post-Deleuzian cinema theory, and contemporary media archaeology.’ Esther Leslie, Birkbeck, University of London Making a compelling argument for the continuing relevance of Brechtian film theory and cinema, this book offers new research and analysis of Brecht the film and media theorist, placing his scattered writings on the subject within the lively film theory debates that took place in Europe between the 1920s and 1960s. Furthermore, Angelos Koutsourakis identifies key points of convergence between Brecht’s ‘unfinished project' and contemporary film and media theory. With case studies of films ranging from Robert Roberto Rossellini’s Paisà to Bernardo Bertolucci’s / 900 and Joshua Oppenheimer’s The Act of Killing amongst others, this study challenges many existing preconceptions about Brecht's theoretical position and invites readers to discover new ways of apprehending and making use of Brecht in fílm studies. ANGELOS KOUTSOURAKIS is a University Academic Fellow in World Cinema at the Centre for World Cinemas and Digital Cultures, University of Leeds. He is the author of Politics as Form in Lars von Trier (201 3) and the co-editor of The Cinema of Theo Angelopoulos (Edinburgh University Press, 2015). |
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| title | Rethinking Brechtian film theory and cinema |
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| title_full | Rethinking Brechtian film theory and cinema Angelos Koutsourakis |
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| title_sort | rethinking brechtian film theory and cinema |
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