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Download Drive in Cinema: Essays on Film, Theory and Politics by Marc James Léger PDF

By Marc James Léger

Drive in Cinema presents Žižek-influenced experiences of flicks made via the most influential filmmakers of our time, together with Jean-Luc Godard, Pier Paolo Pasolini, Werner Herzog, Alexander Kluge, William Klein, Vera Chytilova, Jim Jarmusch, Hal Hartley, and concord Korine. operating with radical thought and Lacanian ethics, Léger attracts fantastic connections among artwork, movie, and politics, taking his research past the tutorial obsession with cultural illustration and filmic strategy and in its place revealing film's power as an emancipatory force.

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Extra resources for Drive in Cinema: Essays on Film, Theory and Politics

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In matters of struggle, he says, we only have mediations and never absolutes. Avoiding strategic struggle leads to pragmatic impotence and pessimism. 55 The insights of anarchism and the critiques of the Bolshevik model of power need not be seen to incapacitate avant-garde praxis. Chapter Summaries Drive in Cinema offers studies of films made by some of the most engaging and influential filmmakers of our time, from avant-garde directors Jean-Luc Godard, Werner Herzog, Alexander Kluge, Pier Paolo Pasolini and Věra Chytilová, to independent filmmakers William Klein, Oliver Ressler, Hal Hartley, Olivier Assayas, Vincent Gallo, Jim Jarmusch and Harmony Korine.

E-flux. com/journal/ the-sound-of-breaking-glass-part-ii-agonism-and-the-taming-of-dissent/. , Toronto, YYZ BOOKS, 2007, pp. 101–15. , Champaign, IL, Common Ground, 2013. ’ See C. com/2013/03/10/ interview-with-daniel-spaulding-on-communization-occupy-and-the-spectre-ofaesthetics/. For a separate but similar essay on communisation theory, see Mikkel Bolt Rasmussen, ‘Art, Revolution and Communisation: On the Transcendence of Art as Meaning without Reality,’ Third Text 26:2 (March 2012), pp. 229–42.

Badiou’s re-reading of Hegelian dialectics in Theory of the Subject is addressed in this text as a means to move away from the ‘idealinguistry’ of postmodern relativism towards an understanding of the Real as a basis to political and artistic truth. The paper takes a small step beyond the idea of the avant garde as the ‘subject supposed to know’ and proposes a new understanding of critical dialectical realism as a moment of institutive disruption. In the next chapter, ‘The Agency of Art in the Unconscious,’ I explore Godard’s 2010 Film Socialisme in light of writing in the field of socially engaged art.

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