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Cinema (Englisch) Taschenbuch – 5. Juli 2013


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Produktinformation

  • Taschenbuch: 320 Seiten
  • Verlag: John Wiley & Sons; Auflage: 1. Auflage (5. Juli 2013)
  • Sprache: Englisch
  • ISBN-10: 0745655688
  • ISBN-13: 978-0745655680
  • Größe und/oder Gewicht: 15,4 x 2,3 x 22,9 cm
  • Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 144.389 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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Produktbeschreibungen

Pressestimmen

"Fascinating ... every word of Badiou's writing radiates with a pronounced sense of exuberance for cinema, and presents the convincing case that it is the liveliest of the seven arts."
Film International
 
"Provides brilliant, in-depth analyses on the techniques, styles, and themes of several films."
Publishers Weekly
 
"The chance to truly and fully understand the nature of cinema through the eyes of someone who is clearly one of its most passionate advocates."
Morning Star
 
"Badiou's unfashionable militancy is sure to continue to generate a degree of mock not-this-again head-scratching from the guardians of sober academic scholarship in the humanities, as well as from whoever might be assigned to review Badiou in say, The New York Review of Books."
Los Angeles Review of Books
 
"While a thorough reading of this book is an intellectual investment, I would highly recommend it, particularly to those interested in the pursuit of cultural renewal by artistic means."
Englewood Review of Books
 
"There is an aphoristic concision to Badiou's thinking that is capable of producing moments of true enlightenment."
Review 31
 
"These rich and diverse pieces are all ostensibly concerned with cinema, but are ultimately far more profound than often their occasion would demand. Providing an important exploration of politics, esthetics, the visible, and cinema's relation to thinking and procedures of decision, this volume gives the reader of Badiou a sense of this major thinker's intellectual development. Spitzer's translation of this volume is a careful and meticulous rendering of Badiou's thought."
Claire Colebrook, Penn State University
 
"Since the 1950s Badiou has written in excess of thirty essays on cinema. It is clear that film has been a constant companion in his articulation of art as a form of truth-making event, the creation of unworldly truths. This collection brings these writings together in English for the first time, allowing us to see just how important film is for Badiou's philosophy of the event."
John Mullarkey, Kingston University, London
 
"These rich and diverse pieces are all ostensibly concerned with cinema, but are ultimately far more profound than often their occasion would demand. Providing an important exploration of politics, esthetics, the visible, and cinema's relation to thinking and procedures of decision, this volume gives the reader of Badiou a sense of this major thinker's intellectual development. Spitzer's translation of this volume is a careful and meticulous rendering of Badiou's thought."
Claire Colebrook, Penn State University
 
"Since the 1950s Badiou has written in excess of thirty essays on cinema. It is clear that film has been a constant companion in his articulation of art as a form of truth-making event, the creation of unworldly truths. This collection brings these writings together in English for the first time, allowing us to see just how important film is for Badiou's philosophy of the event."
John Mullarkey, Kingston University, London

Über den Autor und weitere Mitwirkende

Alain Badiou was Chair of the Department of Philosophy at the École Normale Supérieure in Paris and is one of the leading philosophers in France today. His many books include Being and Event and The Century.

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Format: Taschenbuch
The book is a series of questions mostly from Badiou's writings. This would make a great TV interview series.

We are exposed to a different view of some of our favorite or at least well known Cinema. Maybe a few new films will be discovered for your collection.

It was interesting to hear his insight on what film can be without regurgitating the films themselves.

If your world revolves around Cinema then this book is a must for your collection.
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Amazon.com: 12 Rezensionen
8 von 9 Kunden fanden die folgende Rezension hilfreich
Badiou on Cinema: a collection of essays from across his career 29. August 2013
Von Pen Name? - Veröffentlicht auf Amazon.com
Format: Taschenbuch Vine Kundenrezension eines kostenfreien Produkts ( Was ist das? )
As a reader of continental philosophy, I recall the emergence of English translations of Badiou's work about a decade ago, preceded by the praise and references of Slavoj Zizek. I was curious at least to check out the work of this thinker, though for the most part I have found his writings to be tangential or at odds with my own research interests. But, I do like to keep up from time to time with the work of anyone so prominent in the field, particularly when it comes to work on the arts and culture.

It seems like a lot of modern French philosophers eventually publish a volume on cinema, and so here we have Alain Badiou collecting some of his own writings on cinema, from essays published and previously unpublished. These essays span his whole career, which is interesting in itself. One work even dates as far back as 1957 when Badiou was a student. The volume was originally published in France in 2010 and features both an essay on Clint Eastwood from that year and a new 20 page interview to start the volume which deals with his interest in cinema and engages with the circumstances of some of his writings. This interview itself may be the biggest draw for some readers as it gives a direct look into how Badiou understands his own ideas opening up in relation to cinematic culture and experience.

Like the essay collection "Infinite Thought," this volume may provide a nice entry way into Badiou's thinking, particularly for those who are already versed in film. It's certainly more approachable than say... Being and Event.
5 von 5 Kunden fanden die folgende Rezension hilfreich
Set aside preconceptions, or read selectively 24. September 2013
Von Thomas F. Dillingham - Veröffentlicht auf Amazon.com
Format: Taschenbuch Vine Kundenrezension eines kostenfreien Produkts ( Was ist das? )
Although there are some philosophically oriented English/American writers about movies, they tend not to be among those most recognized by anglophone movie fans. Some very fine writers--James Agee, Andrew Sarris, Pauline Kael, Dwight Macdonald, Murray Kempton,and many others--have produced readable and insight-filled commentaries on specific movies and the art form in general. It is uncommon, however, in English language writing about movies, to encounter the kind of complex and sometimes almost incomprehensible prose produced by the philosopher-critics of the French tradition.

Alain Badiou, as we are reminded in the introduction to this collection, has been writing about CINEMA for more than fifty years. This collection offers a number of fascinating, sometimes impossibly arcane, sometimes disappointingly boring, commentaries, usually about genres or directorial oeuvres more than about particular movies. In other words, though Badiou has strong opinions about the importance, indeed the deep relevance, of cinema to western culture, he is not a movie reviewer and does not bother with thumbs up or down, numbers of stars or popcorn tubs, and so on. As an unreconstructed (though somewhat reconfigured over the years) Marxist, his analyses tend to focus on what he considers the fundamental issues and orientation of the films he discusses, and he shows a strong preference for the kinds of politically oriented films that we associate with Jean-Luc Godard or, in Badiou's case, the surprising examples of the films of Jacques Tati. He strongly denigrates some of the most famous and revered French directors and their "quality" films, which he considers to be mummified museum pieces rather than living works of art.

For a reader willing to navigate the sometimes jargon-turgid prose, these essays are often rewarding. One major drawback for many American readers will be the frequent references to political activities and even politicians indigenous to France and the intricacies of French politics, as well as other distinctly parochial francophone interests. Some notes--not really copious enough for non-French readers--help to clarify some of those points, but a few essays are really worthless to us because of their arcane nature. I found, therefore, that reading selectively and being willing simply to skip ahead if an essay became too opaque, was the way to go with this. From that, I found enough of interest to make the book a worthwhile encounter.
2 von 2 Kunden fanden die folgende Rezension hilfreich
the seventh art 13. September 2013
Von Case Quarter - Veröffentlicht auf Amazon.com
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antoine de baecque, by assembling all of alain badiou's published writings, plus two unpublished essays, lectures, and a couple of interviews, on cinema, has done not just badiou, but the reader, a service.

the book's strength relies on badiou's developing and continuous thought from essay to essay. the essays are arranged in chronological order. over the years we are privileged seeing how badiou developed his ideas on cinema, starting in 1957. badiou was a twenty year old student, spending his free time at a movie theater near his school, watching french and american films from the 1920s. his first film essay, CINEMATIC CULTURE, was published in vin nouveau. in that essay he discussed film as technique and as influenced, writing on scene, the shot, the frame, and adding his opinions on intuition, language and taste. `cinema,' he would later say, `is the art of the perpetual past ... to speak of film is always to speak of a reminiscence ...'

fast forward 20 years, ten years after the events in france during may 1968 finds badiou critiquing the events and cinema from a political perspective. badiou is a maoist. his first of several pieces for la feuille foudre, the journal for a marxist-leninist intervention in cinema and culture, is REVISIONIST CINEMA, a manifesto pooh-poohing counter revolutionary art.

fortunately, for the reader, the 1980s have him distancing art from politics, and this is where his ideas start to get interesting. goddard becomes a focal point for him. badiou discusses goddard's techniques and his method of situating the political and human connection. badiou's distancing of the political is not a relinquishment of politics, he's very clear about the difference. in a film critique from this period he discussed paul nizan, a good friend of jean paul sartre, mentioned by sartre in a lengthy biographical sketch in sartre's SITUATIONS.

the 1990s and into the 21st century show him as the philosopher working through questions of how film connects to reality. he uses plato's images within the cave to discuss the first MATRIX film. he equates the ancient greek audience at the tragedy plays with the filmgoer since the 1900s, finding both audiences engaged in popular entertainment of their time. cinema is a mass art, enjoyed in its immediacy by millions, offering a democratic appeal which no other art form has ever matched. one reason, unlike the other seven categories of art, `film is an impurity that can only be purified by the admixture of the Beautiful,' with american cinema being `unquestionably one of the greatest artistic creations of the century,' the tension and the character, that is, the hero, in the epic, who against impossible odds, car chases and explosions, always triumphs, a scenario that rarely happens in european film. a couple of other american films discussed are MAGNOLIA and clint eastwood's A PERFECT WORLD. reading badiou's enthusiasm for american cinema, i wonder what he thinks of weekly american tv dramas.

there is also his TRIBUTE TO GILLES DELEUZE, a description of the deleuze's books CINEMA 1 and CINEMA 2, in which badiou ponders time in philosophy and cinema, speculating how cinema will change the way philosophy is conducted.

there are several films, which i have not seen and intend to see, and films i have seen at which, thanks to badiou, i will take another look.
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French Film Lovers Rejoice 28. September 2013
Von Cynthia - Veröffentlicht auf Amazon.com
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Please understand that I'm an enthralled cinephile with no formal education in the disciplines of either the cinema or philosophy both of which are Badiou's ball whack. I found Badiou's essays dense and highly politicized as well as skewed to his native French movie culture. I'm not interested in politics overmuch and I'm not especially familiar with French cinema so that's another factor in my response to this book. I didn't find many of the essays scintillating though a few of them were interesting.

I was excited to see Badiou covered some American movies such as "Perfect", "Magnolia", and "The Matrix" with varying degrees of clarity. Here's an example of his writing. It's the first paragraph on the "Matix" essay, "Against empiricism, and with Platonism, one must always verify that the visible - the apparent figure of what is certain (we must see to believe, like St. Thomas) - is really nothing but an especially aleatory index of the real." I share this to help you judge if this is the type of discussion you might find productive. It wasn't to me much to my regret.

I would also suggest a recent viewing of whatever film is understand discussion prior to reading Badiou's essay about it because he gets into specifics that can be incomprehensible unless you're very familiar with that specific movie. What is great about this book are the film suggestions. If you have knowledge and interest of French Cinema you'll probably love this book.
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The Seventh Art, 1957-2010 2. Dezember 2013
Von K. N. - Veröffentlicht auf Amazon.com
Format: Taschenbuch Vine Kundenrezension eines kostenfreien Produkts ( Was ist das? )
This remarkable collection contains Alain Badiou's most important writings on film. The volume contains 30 pieces from the full sweep of Badiou's career, from his earliest piece, "Cinematic Culture" (1957), published when he was only 20, to a recent consideration of Clint Eastwood (2010). It's a gift for cinephiles and cinema scholars to be able to trace one thinker's engagement with film over such a long period of time. And because the range of Badiou's objects of study--from silly French comedies to the great auteurs of postwar Europe to Hollywood--is expansive, one is always reminded of his deep commitment to the art in toto, not just one facet of its history.

Despite the volume's variety, there are, as Badiou himself makes clear, two clear ideas he develops in his engagement with the medium: "cinema doing justice to the human figure and cinema considered in terms of a subjugating relationship to the other arts" (pp. 7-8). It turns out these ideas are complementary, for as Badiou demonstrates time and again, cinema's ability to "render[] human presence visible" (p. 7) is precisely a function of its drawing from and remixing, so to speak, the six other arts in an utterly inimitable way. Badiou's knowledge of other arts--painting, music, theater, etc.--is essential here, for his entire approach to cinema is one that would accent its culmination of the potential of those previous artistic forms.

A wonderful and representative example of Badiou's criticism on film is his study of Michelangelo Antonioni's Identification of a Woman (1982). The film, for Badiou, conveys meaning "by the well-organized force of the forms, the blue fog, the distance of the images, the slowness of the rituals, the melancholy sound of the sea, the flight of the women, the indecisiveness of the men, the immobility of the objets d'art, the impotence of the words" (p. 161). This is just an excerpt from that piece, but you can still get a flavor of Badiou's total appreciation for cinematic form--sound, image, mood, "text"--from it. The essay in which it appears draws out how each of these elements is an integral part of Antonioni's whole.

Cinephiles (like myself) long for good writing on film: not commercial-oriented reviews or ideological content analysis but genuine, thoughtful essays on cinematic form--essays that dwell in the seventh art's horizons of possibility. Badiou's Cinema, like Deleuze's great Cinema books (I and II), is a glowing testament to that kind of writing.
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