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What is the fundamental nature of the filmic object: is it a commodity or is it, can it be, art? What would that mean - can it still matter? This book introduces the thought of Theodor Adorno into film studies to repair the schism that characterizes the field, as historical and cultural modes of analysis displace theoretical and philosophical ones.
This classic account of the nature of film music aesthetics was first published in 1947. Its value comes from a unique combination of talents and experience enjoyed by the book's authors. Eisler's time at Hollywood gave him a particular insight on the technical questions which arise for composers when music is used in the production of films, while Adorno was able to contribute on wide aesthetic and sociological matters as well as specifically musical questions. Above all, the authors envisaged the book as a contribution to the study of modern, industrialized culture; and, in this respect, it has a particular importance to the whole area of cultural studies. With an introduction by Graham McCann.
What is the fundamental nature of the filmic object: is it a commodity or is it, can it be, art? What would that mean - can it still matter? This book introduces the thought of Theodor Adorno into film studies to repair the schism that characterizes the field, as historical and cultural modes of analysis displace theoretical and philosophical ones.
What is the fundamental nature of the filmic object: is it a commodity or is it, can it be, art? What would that mean - can it still matter? This book introduces the thought of Theodor Adorno into film studies to repair the schism that characterizes the field, as historical and cultural modes of analysis displace theoretical and philosophical ones.
Kracauer. Film, medium of a disintegrating world. -- Curious Americanism. -- Benjamin. Actuality, antinomies. -- Aura: the appropriation of a concept. -- Mistaking the moon for a ball. -- Micky-maus. -- Room-for-play. -- Adorno. The question of film aesthetics. -- Kracauer in exile. Theory of film.
Béla Balázs was a Hungarian Jewish film theorist, author, screenwriter and film director who was at the forefront of Hungarian literary life before being forced into exile for Communist activity after 1919. His German-language theoretical essays on film date from the mid-1920s to the mid-1930s, the period of his early exile in Vienna and Berlin."--Pub. desc.
Critically examines how radical political theory and its application to film analysis can provide insight to the aesthetic self during political upheaval and conflict
Critical Theory and Film brings together critical theory and film to enhance the critical potential of both. The book focuses on the Frankfurt School, most notably the works of Adorno and Horkheimer, as well as associated thinkers. It seeks to demonstrate that cinema can help critical theory repoliticize culture and society and affirm the theoretical and political impact of cinematic knowledge. After discussing how the Frankfurt School saw cinema as an instrument of capitalism use to promote the cultural and political regimentation of the masses, Vighi then proceeds to demonstrate that critical theory can in fact suggest a different verdict on the progressive potential of cinema. Each chapter focuses on a key critical theory concept that is explained and redefined through film analysis to unravel the hidden presuppositions and most radical consequences of critical theory. A unique contribution to the literature, this volume in the Critical Theory and Contemporary Society series offer an innovative reading of film as a critical tool, drawing on the latest developments in Lacanian theory.
"Film Music: A Very Short Introduction focuses on the most central issues in the practice of film music. What is film music? How is it composed? How does film music work? Why does film music work? The rich and deeply moving sounds of film music are as old as cinema. The very first projected moving images were accompanied by music around the globe as a variety of performers-from single piano players to small orchestras-brought images to life. Film music has since become its own industry, an aesthetic platform for expressing creative visions, and a commercial vehicle for generating increased revenue. The second edition updates coverage to 2022 and includes attention to recent developments in global film music, women in film music, and African -American and minority composers"--
In Adorno's Theory of Philosophical and Aesthetic Truth, Owen Hulatt undertakes an original reading of Theodor W. Adorno's epistemology and its material underpinnings, deepening our understanding of his theories of truth, art, and the nonidentical. Hulatt's novel interpretation casts Adorno's theory of philosophical and aesthetic truth as substantially unified, supporting the thinker's claim that both philosophy and art are capable of being true. For Adorno, truth is produced when rhetorical "texture" combines with cognitive "performance," leading to the breakdown of concepts that mediate the experience of the consciousness. Both philosophy and art manifest these features, although philosophy enacts these conceptual issues directly, while art does so obliquely. Hulatt builds a robust argument for Adorno's claim that concepts ineluctably misconstrue their objects. He also puts the still influential thinker into conversation with Hegel, Husserl, Frazer, Sohn-Rethel, Benjamin, Strawson, Dahlhaus, Habermas, and Caillois, among many others.