Angelos Koutsourakis

Rethinking Brechtian Film Theory and Cinema

• Gebundenes Buch

Produktbeschreibung

'Brecht's experiences with film were not always happy, but the Brechtian influence on film and its theory is colossal. Koutsourakis' book masterfully sets out the wide scope of Brecht's aesthetics, from his 1923 venture with slapstick to the Brechtian footprints in the essay film, Realist and post-Deleuzian cinema theory and contemporary media archaeology' Esther Leslie, Birkbeck, University of London Making a compelling argument for the continuing relevance of Brechtian film theory and cinema, this book offers new research and analysis of Brecht the film and media theorist, placing his scattered writings on the subject within the lively film theory debates that took place in Europe between the 1920s and 1960s. Furthermore, Angelos Koutsourakis identifies key points of convergence between Brecht's 'unfinished project' and contemporary film and media theory. With case studies of films ranging from Robert Roberto Rossellini's Paisà to Bernardo Bertolucci's 1900 and Joshua Oppenheimer's The Act of Killing amongst others, this study challenges many existing preconceptions about Brecht's theoretical position and invites readers to discover new ways of apprehending and making use of Brecht in film studies. ANGELOS KOUTSOURAKIS is a University Academic Fellow in World Cinema at the Centre for World Cinemas and Digital Cultures, University of Leeds. He is the author of Politics as Form in Lars von Trier (2013) and the co-editor of The Cinema of Theo Angelopoulos (Edinburgh University Press, 2015).

Produktdetails

• Verlag: Edinburgh University Press
• Seitenzahl: 272
• Erscheinungstermin: 2. Oktober 2018
• Englisch
• Abmessung: 241mm x 161mm x 22mm
• Gewicht: 545g
• ISBN-13: 9781474418904
• ISBN-10: 1474418902
• Artikelnr.: 51980644

Autorenporträt

Angelos Koutsourakis is an Associate Professor in Film and Cultural Studies at the Centre for World Cinemas and Digital Cultures, University of Leeds. He is the author of Rethinking Brechtian Film Theory and Cinema (2018), Politics as Form in Lars von Trier (2013) and the co-editor of The Cinema of Theo Angelopoulos (2015) and Cinema of Crisis: Film and Contemporary Europe (2020).

Inhaltsangabe

Acknowledgements Introduction Part 1: Brechtian Film Theory Chapter 1: Key Concepts The Dialectic The Individual as a Nexus The Gestic Principle: Between Brecht, Eisenstein, and Deleuze Gestus and Cultural Techniques 'Humour is a Sense of Distance' Chapter 2: Photography and Film The Photographic Image The Apparatus and the Agency of the Machine Chapter 3: Modernism as Realism Brecht, Bazin, and Lukács On Sound/Music Some Thoughts on Brecht and Genre Chapter 4: Brecht in Film Theory From Close Up to the Grand Theory Noël Burch The Cognitivist Critique Rancière and the post-Brechtian Part 2: Brechtian Cinema The Revisionist History Film Chapter 5: Re-visioning History Defining the Revisionist History Film Totality is history: Szegénylegények (The Round-Up, 1966) and Allonsanfàn (1974) Chapter 6: Revisiting National Traumas Dealing with Fascism: Professor Mamlock (1961), Das schreckliche Mädchen ( The Nasty Girl, 1990) Epic Cinema:
T
as
(The Travelling Players, 1975), 1900 (1976) The Essay Film Chapter 7: Beyond Auteurism: the Dialectics of the Essay Film The Disappearance of the Subject in Writing Representation as Unfinished Material: Thomas Heise's Material (2009) Chapter 8: Pedagogical Essay Films Agitprop and the Crisis: Brecht die Macht der Manipulateure (Break the Power of the Manipulators, 1967), Fascism Inc. (2014) The Lehrstück on Film: La Commune (Paris, 1871) (2000), The Act of Killing (2012) Cinemas of Cruelty Chapter 9: Brecht and Artaud The Politics of Cruelty: Brecht and Artaud From Theatre to Film: The Brig (1964), Marat/Sade (1967) Chapter 10: Cruelty as Anti-commodity Everyday Fascism: Import/Export (2007), The Rebellion of Red Maria (2011) The Postdramatic on Screen: Katzelmacher (1969), Die linkshändige Frau ( The Left-handed Woman, 1978) Epilogue Bibliography Index