Libros

This groundbreaking inaugural volume for the Thinking Cinema series focuses on the extent to which contemporary cinema contributes to political and philosophical thinking about the future of Europe's core Enlightenment values. In light of the challenges of globalization, multi-cultural communities and post-nation state democracy, the book interrogates the borders of ethics and politics and roots itself in debates about post-secular, post-Enlightenment philosophy. By defining a cinema that knows that it is no longer a competitor to Hollywood (i.e. the classic self-other construction), Elsaesser also thinks past the kind of self-exoticism or auto-ethnography that is the perpetual temptation of such a co-produced, multi-platform 'national cinema as world cinema'. Discussing key filmmakers and philosophers, like: Claire Denis and Jean-Luc Nancy; Aki Kaurismaki, abjection and Julia Kristeva; Michael Haneke, the paradoxes of Christianity and Slavoj Zizek; Fatih Akin, Alain Badiou and Jacques Ranciere, Elsaesser is able to approach European cinema and assesses its key questions within a global context. His combination of political and philosophical thinking will surely ground the debate in film philosophy for years to come.

Most histories of Soviet cinema portray the 1971s as a period of stagnation and the gradual decline of the film industry. This book, however, examines Soviet film and television of the era as mature industries articulating diverse cultural values via new genre models. During the 1970s, Soviet cinema and television developed a parallel system of genres where television texts celebrated conservative consensus while films manifested symptoms of ideological and social crises. The book examines police film, melodrama, comedy, children's film, variety show film, art cinema, and epic film, and outlines how television gradually emerged as the major form of Russo-Soviet popular culture. Through close analysis of well-known film classics of the period as well as less familiar films and television series, this groundbreaking work helps to deconstruct the myth of this era as a time of social stability and also helps us to understand the persistence of this myth in the contemporary Russian collective memory.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of film theory with interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. The third book in the series, Critical Race Theory and Bamboozled, offers a concise introduction to Critical Race Theory in jargon-free language and shows how this theory can be deployed to interpret Spike Lee's critically acclaimed 2100 film Bamboozled. The most common approach to issues of "race" and "otherness" continues to focus primarily on questions of positive vs. negative representations and stereotype analysis. Critical Race Theory, instead, designates a much deeper reflection on the constitutive role of race in the legal, social, and aesthetic formations of US culture, including the cinema, where Bamboozled provides endless examples for discussion and analysis. Alessandra Raengo's Critical Race Theory and Bamboozled is the first to connect usually specialized considerations of race to established fields of inquiry in the humanities, particularly those concerned with issues of representation, capital, power, affect, and desire.

Esta investigación es un homenaje a la obra cinematográfica de Chick Strand (San Francisco, 1931-2109). En 1979, la cineasta Chick Strand rodó el film etnográfico de 16mm Soft Fiction.

Una película que rompe con los clichés narrativos de representación de las mujeres y las imágenes sobre fantasías eróticas y sexuales.

Extendiendo las líneas de trabajo por las que transitó Soft Fiction, el libro plantea una aproximación a las diferentes operaciones que el aparato cinematográfico sutura y a las políticas feministas de la visualidad y la desidentidad. La publicación Soft Fiction está concebida como un dispositivo de escritura activo en un sentido amplio. Relaciona los distintos niveles de las prácticas feministas de la visualidad, las narrativas de ficción y los relatos documentales. Plantea una posible praxis en el ámbito de las pedagogías colaborativas de la imagen. Este libro que tienes en tus manos, transita por la relación entre los saberes sociales y el género, la clase, la raza y la resistencia cotidiana. El territorio en el que se mueve esta recopilación de ensayos y relatos es la ficcionalización de la Mirada del día a día, la noción de documento. Filmar, nombrar, registrar, fotografiar, digitalizar la memoria afectiva y cómo la historia incide en las relaciones personales, la sexualidad, el amor y el activismo político.

Este libro reúne los textos de Juan Antonio Suárez, Paula Rabinowitz, Gabriela Golder, Virginia Villaplana Ruiz, Angela Melitopoulos, Hito Steyerl, Habiba Djahnine, Marina Gržinić, Sandra Schäfer, Montse Romaní, Harriet Brown, María Ruido, Itziar Ziga, Caroline Betemps & June Fernández, Medeak, Ainhoa Güemes Moreno, Eduardo Hurtado, Maider Zilbeti, Manu Arregui, Saioa Olmo, Susana Talayero, María Díaz Merlo & Fefa Vila Núñez, R. Lucas Platero, Julia Morandeira, Nataša Sukič, Sayak Valencia y Gilles Deleuze.