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The Enigmatic Body
A translation of essays by French critic and theorist Jean-Louis Schefer.
The Ordinary Man of Cinema
The first English translation of a foundational work in cinema studies and the philosophy of film. When it was first published in French in 1980, The Ordinary Man of Cinema signaled a shift from the French film criticism of the 1960s to a new breed of film philosophy that disregarded the semiotics and post-structuralism of the preceding decades. Schefer describes the schizophrenic subjectivity the cinema offers us: the film as a work projected without memory, viewed by (and thereby lived by) a subject scarred and shaped by memory. The Ordinary Man of Cinema delineates the phenomenology of movie-going and the fleeting, impalpable zone in which an individual's personal memory confronts the cin...
Portrait
This book examines the practice of portraits as a way in to grasping the paradoxes of subjectivity. To Nancy, the portrait is suspended between likeness and strangeness, identity and distance, representation and presentation, exactitude and forcefulness. It can identify an individual, but it can also express the dynamics by means of which its subject advances and withdraws. The book consists of two extended essays written a decade apart but in close conversation, in which Nancy considers the range of aspirations articulated by the portrait. Heavily illustrated, it includes a newly written preface bringing the two essays together and a substantial Introduction by Jeffrey Librett, which places...
Frankenstein, Creation, and Monstrosity
Deals with the place of the monster in Western
Cinema, Memory, Modernity
Since its inception, cinema has evolved into not merely a ‘reflection’ but an indispensable index of human experience – especially our experience of time’s passage, of the present moment, and, most importantly perhaps, of the past, in both collective and individual terms. In this volume, Kilbourn provides a comparative theorization of the representation of memory in both mainstream Hollywood and international art cinema within an increasingly transnational context of production and reception. Focusing on European, North and South American, and Asian films, Kilbourn reads cinema as providing the viewer with not only the content and form of memory, but also with its own directions for use: the required codes and conventions for understanding and implementing this crucial prosthetic technology — an art of memory for the twentieth-century and beyond.
What is an Image?
"Brings together historians, philosophers, critics, postcolonial theorists, and curators to ask how images, pictures, and paintings are conceptualized. Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing"--Provided by publisher.
Black and Blue
Audacious and genre-defying, Black and Blue is steeped in melancholy, in the feeling of being blue, or, rather, black and blue, with all the literality of bruised flesh. Roland Barthes and Marcel Proust are inspirations for and subjects of Carol Mavor's exquisite, image-filled rumination on efforts to capture fleeting moments and to comprehend the incomprehensible. At the book's heart are one book and three films—Roland Barthes's Camera Lucida, Chris Marker's La Jetée and Sans soleil, and Marguerite Duras's and Alain Resnais's Hiroshima mon amour—postwar French works that register disturbing truths about loss and regret, and violence and history, through aesthetic refinement. Personal recollections punctuate Mavor's dazzling interpretations of these and many other works of art and criticism. Childhood memories become Proust's "small-scale contrivances," tiny sensations that open onto panoramas. Mavor's mother lost her memory to Alzheimer's, and Black and Blue is framed by the author's memories of her mother and effort to understand what it means to not be recognized by one to whom you were once so known.
Filmosophy
'Filmosophy' is a manifesto for a radically philosophical way of understanding cinema. The book coalesces 20th century ideas of film as thought into a practical theory of 'film-thinking', arguing that film style conveys poetic ideas through a constant dramatic 'intent' about the characters, spaces, and events of film.
Visionary Animal
An illustrated collection that takes stock of current knowledge and proposes a new way of reading indigenous art For thousands of years, nomadic hunter-gatherers assigned a fundamental role to the visualization of the animals who shared their lives. Some, such as the Cape eland, the largest of antelopes, were the object of a fascinated gaze, as though the graceful markings and shapes of their bodies were the key to secret knowledge safeguarded by the animals’ unsettling silence. Renaud Ego posits that the artists sought to steal the animals’ secret through an act of rendering visible a vitality that remained hidden beneath appearances. In this process, the San themselves became the visio...
Alberto Giacometti
"Space does not exist," the Swiss sculptor Alberto Giacometti (1901-1966) wrote in 1949. "It has to be created... Every sculpture made on the assumption that space exists is wrong, there is only the illusion of space." This fascinating statement serves as a conceptual underpinning for Hatje Cantz's new appraisal of the artist's mature work. Giacometti's emaciated sculptures have long been seen as symbols of a newly anxious, frail humanity. But more recently, attention has come to focus on the relevance of his work for contemporary considerations of space and time. Alberto Giacometti: The Origin of Space supplies a comprehensive overview of the later works of this lastingly influential artist, presenting 200 color images of sculptures, paintings and drawings.
