Rethinking Brechtian Film Theory and Cinema / / Angelos Koutsourakis.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2018
• VerfasserIn: Koutsourakis, Angelos,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2018
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource (272 p.) :; 20 B/W illustrations
• Other title: Frontmatter --; Contents --; Acknowledgements --; Notes on the Text --; Figures --; Introduction --; Part 1 Brechtian Film Theory --; Chapter 1 Key Concepts --; Chapter 2 Photography and Film --; Chapter 3 Modernism as Realism --; Chapter 4 Brecht in Film Theory --; Part 2 Brechtian Cinema --; The Revisionist History Film --; Chapter 5 Re-visioning History --; Chapter 6 Revisiting National Traumas --; The Essay Film --; Chapter 7 Beyond Auteurism: the Dialectics of the Essay Film --; Chapter 8 Pedagogical Essay Films --; Cinemas of Cruelty --; Chapter 9 Brecht and Artaud --; Chapter 10 Cruelty as Anti-commodity --; Epilogue --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781474418911; 9783110780437
• DOI: 10.1515/9781474418911
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Angelos Koutsourakis.

A comprehensive re-examination of Brechtian film theoryOffers the first full‐length study on Brechtian film theory and cinema dedicated to connecting Brecht's writings with classical film theory, contemporary film theory and German Media Theory Seeks to connect theory with practice so as to identify the ways the dialectic works within the film objectInvestigates Brechtian cinema with reference to a variety of filmmakers who share aesthetic and cultural differences, but also similarities in their employment of the dialectical methodMaking 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‐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.