Towards a Political Aesthetics of Cinema : : The Outside of Film / / Sulgi Lie.

• Superior document: Title is part of eBook package: De Gruyter Amsterdam University Press Complete eBook-Package 2020
• VerfasserIn: Lie, Sulgi,
• MitwirkendeR: Fairfax, Daniel,
• Place / Publishing House: Amsterdam : : Amsterdam University Press, , [2020]; ©2020
• Year of Publication: 2020
• Language: English
• Series: Film Culture in Transition
• Physical Description: 1 online resource (332 p.)
• Other title: Frontmatter --; Table of Contents --; New Preface to the English Edition --; Preface --; Part I. The Absent Cause of Film: On the Theory of Enunciation and Suture --; Introduction --; 1. On Enunciation in Apparatus Theory --; 2. On Enunciation without an Enunciator: Suture --; 3. On the Pragmatics of Enunciation --; 4. On the Acousmatics of Enunciation: Back to the Suture --; 5. The Political Uncanny, or the Return of the Repressed: Caché --; Part II. Allegories of Totality: Fredric Jameson’s Political Film Aesthetics --; 6. The Dialectics of Mass Culture --; 7. Cartographies of the Postmodern --; 8. Geopolitical Aesthetics --; 9. The Political Uncanny, or the Return of Domination: The Shining --; Filmography --; Bibliography --; Index of Names
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9789048533985; 9783110689556; 9783110738230; 9783110696295; 9783110704655; 9783110704785; 9783110704716; 9783110704518
• DOI: 10.1515/9789048533985?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Sulgi Lie.

Towards a Political Aesthetics of Cinema: The Outside of Film is a contribution to an aesthetics of cinema rooted in Marxist theory. Rather than focusing on the role that certain films, or the cinema as an institution, might play in political consciousness, the book asks a different question: how can the subject of politics in film be thought? This problem is presented in a systematic-theoretical rather than historical manner. The main aim of this book is a retrospective film theoretical rehabilitation of the psychoanalytical concept of "suture," whose political core is progressively revealed. In a second step, this rereading of ''suture''-theory is mediated with the Marxist aesthetics of Fredric Jameson. From the perspective of this reconfigured aesthetics of negativity, films by Hitchcock, Antonioni, Haneke and Kubrick are analyzed as articulations of a political unconscious.