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Cinematic Metaphor
Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research. The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of information. Cinematic Metaphor proposes an alternative: starting from film images as affective experience of movement-images, it replaces the cognitive idea of viewers as information-processing machines, and heals the break with rhetoric established by conceptual metaphor theory. Subscribing to a phenomenological concept of embodi...
The Politics and Poetics of Cinematic Realism
Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. Kappelhoff applies the Deleuzean practice of "thinking in images" to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience.
Body - Language - Communication. Volume 2
Volume II of the handbook offers a unique collection of exemplary case studies. In five chapters and 99 articles it presents the state of the art on how body movements are used for communication around the world. Topics include the functions of body movements, their contexts of occurrence, their forms and meanings, their integration with speech, and how bodily motion can function as language. By including an interdisciplinary chapter on ‘embodiment’, volume II explores the body and its role in the grounding of language and communication from one of the most widely discussed current theoretical perspectives. Volume II of the handbook thus entails the following chapters: VI. Gestures acros...
The Scandal of Self-contradiction
Pier Paolo Pasolini (1922-1975) was both a writer and filmmaker deeply rooted in European culture, as well as an intellectual who moved between different traditions, identities and positions. Early on he looked to Africa and Asia for possible alternatives to the hegemony of Western Neocapitalism and Consumerism, and in his hands the Greek and Judeo-Christian Classics morphed into unsettling multistable figures constantly shifting between West and East, North and South, the present and the past, rationality and myth, identity and otherness. The contributions in this volume, which belong to different intellectual and disciplinary fields, are bound together by a fascination for Pasolini's ability to recognize contradictions, to intensify and multiply them, as well as to make them aesthetically and politically productive. What emerges is a "euro-eccentric" and multifaceted Pasolini of great interest for the present.
Thinking Revolution Through Film
This book aims to redefine the relationship between film and revolution. Starting with Hannah Arendt’s thoughts on the American and French Revolution, it argues that, from a theoretical perspective, revolutions can be understood as describing a relationship between time and movement and that ultimately the spectators and not the actors in a revolution decide its outcome. Focusing on the concepts of ‘time,’ ‘movement,’ and ‘spectators,’ this study develops an understanding of film not as a medium of agitation but as a way of thinking that relates to the idea of historicity that opened up with the American and French Revolution, a way of thinking that can expand our very notion of revolution. The book explores this expansion through an analysis of three audiovisual stagings of revolution: Abel Gance’s epic on the French Revolution Napoléon, Warren Beatty’s essay on the Russian Revolution Reds, and the miniseries John Adams about the American Revolution. The author thereby offers a fresh take on the questions of revolution and historicity from the perspective of film studies.
Cinematic Histospheres
In this Open Access book, film scholar Rasmus Greiner develops a theoretical model for the concept of the histosphere to refer to the “sphere” of a cinematically modelled, physically experienceable historical world. His analysis of practices of modelling and perceiving, immersion and empathy, experience and remembering, appropriation and refiguration, combine approaches from film studies, such as Vivian Sobchack’s phenomenology of film experience, with historiographic theories, such as Frank R. Ankersmit’s concept of historical experience. Building on this analysis, Greiner examines the spatial and temporal organization of historical films and presents discussions of mood and atmosphere, body and memory, and genre and historical consciousness. The analysis is based around three historical films, spanning six decades, that depict 1950s Germany: Helmut Käutner’s Sky Without Stars (1955), Jutta Brückner’s Years of Hunger (1980), and Sven Bohse’s three-part TV series Ku’damm 56 (2016).
Mapping the Sensible
Die Reihe Cinepoetics Essay erkundet poetische Logiken audiovisueller Bilder, wobei die behandelten Gegenstände thematisch eng gefasst, aus persönlicher Perspektive beleuchtet oder unter einem bestimmten ästhetischen, kulturhistorischen oder theoretischen Gesichtspunkt betrachtet werden. Die Reihe bietet einer breiten Leserschaft in kompakter Form Zugänge zu Figurationen medialer Erfahrung und führt sie auf diese Weise an ein Verständnis der Vielfalt filmischen Denkens heran. Bitte beachten Sie auch die englischsprachige (https://www.degruyter.com/serial/CINE%20E-B/html) und die deutschsprachige Cinepoetics-Schriftenreihe (https://www.degruyter.com/serial/CINE-B/html).
Doing Digital Film History
How has the digital turn shaped the practices of film historical research and teaching? While computational approaches have been used by film historians since the 1960s and 1970s, the arrival and use of digital tools and methods in recent decades has fundamentally changed the ways we search, analyze, interpret, present, and so think and write about film history – from digital archival and curatorial practices, data-driven search, and analysis of film historical collections to the visualization and dissemination of film historical materials online. While film historians have increasingly embraced the new possibilities brought by digital technologies, their practical, epistemological, and me...
Rethinking Community through Transdisciplinary Research
This book offers the first interdisciplinary survey of community research in the humanities and social sciences to consider such diverse disciplines as philosophy, religious studies, anthropology, sociology, disabilities studies, linguistics, communication studies, and film studies. Bringing together leading international experts, the collection of essays critically maps and explores the state of the art in community research, while also developing future perspectives for a cross-disciplinary rethinking of community. Pursuing such a critical, transdisciplinary approach to community, the book argues, can counteract reductive appropriations of the term ‘community’ and, instead, pave the way for a novel assessment of the concept’s complexity. Since community is, above all, a lived practice that shapes people’s everyday lives, the essays also suggest ways of redoing community; they discuss concrete examples of community practice, thereby bridging the gap between scholars and activists working in the field.
A Companion to the Historical Film
Broad in scope, this interdisciplinary collection of original scholarship on historical film features essays that explore the many facets of this expanding field and provide a platform for promising avenues of research. Offers a unique collection of cutting edge research that questions the intention behind and influence of historical film Essays range in scope from inclusive broad-ranging subjects such as political contexts, to focused assessments of individual films and auteurs Prefaced with an introductory survey of the field by its two distinguished editors Features interdisciplinary contributions from scholars in the fields of History, Film Studies, Anthropology, and Cultural and Literary Studies
