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Epstein at the crossroads
Christophe Wall-Romana

political terms as we will see. Meanwhile, thinkers of the cinema as diverse as Edgar Morin, Jean Mitry, and Siegfried Kracauer in the 1950s and 1960s, and Gilles Deleuze, Jean-Luc Godard, and Jacques Rancière in the 1980s and 1990s, have uniformly recognized in Jean Epstein both a remarkable filmmaker and among the first committed philosophical thinkers of cinema (see chapter 6). The time has come to take these influential figures at their word and give Epstein the critical appraisal that has been so long in coming. For his double attainment – as key director and

in Jean Epstein
Sarah Turner’s Perestroika
Kim Knowles

experience of it. In Maurice Merleau-Ponty’s theory of perception, this equates to a form of reversibility: ‘the look […] envelops, palpitates, espouses the visible things’. 31 By opening up these tangible interstices, Perestroika ’s formal approach activates a tactile reading. For Turner, as for Jacques Rancière, ‘[t]houghts and things, exterior and interior, are captured in the same texture, in which the sensible and the intelligible remain undistinguished’. 32 Inter-subjectivity and intermediality combine to carve out multiple spaces between, with the former

in British art cinema
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Staging art and Chineseness
Jane Chin Davidson

changes of those conditions in China has brought Chineseness into the forefront of the socio-political economy of representation. Althusser’s exploration of Maoist thought was developed later by his students, including Jacques Rancière and Alain Badiou, both of whom have contributed significantly to contemporary art discourse while conserving in varying degrees the use of Maoist alternatives to capitalism through discourse.28 The fragments and traces of historical materialism in the structural philosophies for art, affecting representation and identity, can be seen as

in Staging art and Chineseness
Assemblages of images and the production of knowledge
W. J. T. Mitchell

Jacques Rancière has called ‘image sentences’ (Rancière 2007, 46ff.). Art history, for example, tends to confine its moments of simultaneity and synchronic presentation to what might be called ‘dialectical display’, the practice of comparing two slides side by side, a routine that Robert S. Nelson has traced back to the Hegelian ancestry of art history (Nelson 2000). There are notable exceptions to this rule of concealment, two of the best known being Aby Warburg’s Mnemosyne project, the Bilderatlas, which he assembled in Hamburg during the last few years of his life

in Image operations
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Bryce Lease

. This positioning of the theatre as a crucial space in the public sphere is a concrete move away from the one-way relationship between theatre, audiences and critics, which renders the former as a passive object to be interpreted by the latter. As Paweł Mościcki has argued, political theatre today is not, contrary to a widespread opinion, an empty word. ‘You just need to fill it with new content, discarding old habits and unnecessary nostalgia. Activating new interactive forms of engagement’ (2008:  9). Jacques Rancière claimed that ‘politics is, above all, an

in After ’89
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Tijana Vujošević

would be impossible without first defining the communist individual.The groundwork for the study of subjectivity in Western cultural theory has been established by Louis Althusser, Jaques Lacan, Michel Foucault, Gilles Deleuze, Felix Guattari, and Jacques Rancière. Despite numerous and sophisticated differences, including radically Introduction 9 different opinions on individual agency, these theorists all believe that the terms of discourse and representation fundamentally define who an individual is or is not. Battles over defining the identity of the citizen are

in Modernism and the making of the Soviet New Man
(eco)feminist interpellations of Chineseness in the work of Yuk King Tan, Cao Fei, and Wu Mali
Jane Chin Davidson

’s students Jacques Rancière and Alain Badiou.16 The anti-bourgeois and anti-rightist campaigns in China would become the model for French intellectuals, which I argue had left an impact on the future of political philosophy in globalization. Feminists like Kristeva were enamored of Mao’s empowerment of women, even as the Confucian system connecting gender to kinship and the state perpetually underlies the definition of ‘woman.’ For instance, the familial term funü came to represent the equality of woman as worker while the sexual term nuxing became the signifier of the

in Staging art and Chineseness
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Mark Robson

, does not. As Jacques Rancière notes, the Aristotelian distinction between human and animal can only be the result of a rather unlikely forgetting of Plato. In particular, it involves suppressing the passages in the Republic that are all too clear on the animalistic nature of crowds who, at the instigation of an orator, will express pleasure and displeasure. 11 Rancière argues

in The sense of early modern writing
Anna Dezeuze

. Indeed, as philosopher Jacques Rancière underlined in a 2009–10 exchange with Hirschhorn, the presence of the artist and the work over a continuous time set up a specific temporal framework in which to construct a space of appearance, ‘affirming anybody’s ability to see, produce and think’.168 A ‘fluctuating temporality’, according to Rancière, allowed Hirschhorn’s practice to operate at the junction of both the artist’s work and the ‘experiences of work’ by others, as well as the junction between his free time and others’ ‘idle time’, in an unpredictable, back

in Almost nothing
Open Access (free)
Joshua Foa Dienstag

. Although the immediate focus of the essay is M. Cavell, the larger target is the general Enlightenment position, revived today in more than one quarter (e.g., William Connolly, Richard Rorty, Robert Pippin, Jacques Rancière) that popular film can serve to instruct us in democracy. Indeed, perhaps here is the place to re-emphasize that I criticize Cavell not because I think he is the

in Cinema, democracy and perfectionism