In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined on largely legalistic terms, dominated by issues of consent, responsibility, and participants' or film-makers' rights, but Cooper approaches four representative French film-makers - Jean Rouch, Chris Marker, Raymond Depardon, and Agnes Varda - in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinas' iconoclastic, anti-ocular thinking, his concept of visage is richly applicable to film, and especially to documentary.
In Selfless Cinema Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined on largely legalistic terms, dominated by issues of consent, responsibility, and participantsÆ or film-makers' rights, but Cooper approaches four representative French film-makers - Jean Rouch, Chris Marker, Raymond Depardon, and Agnes Varda - in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinas's iconoclastic, anti-ocular thinking, his concept of visage is richly applicable to film, and especially to documentary.
Drawing on the work of contemporary French philosopher Jean-Luc Nancy, Cinema and Contact investigates the aesthe-tics and politics of touch in the cinema of three of the most prominent and distinctive filmmakers to have emerged in France during the last fifty years: Robert Bresson, Marguerite Duras and Claire Denis. Countering the domi-nant critical account of touch elaborated by recent models of embodied spectatorship, this book argues that cinema offers a privileged space for understanding touch in terms of spacing and withdrawal rather than immediacy and continuity. Such a deconstructive configuration of touch is shown here to have far-reaching implications, inviting an innovative rethinking of politics, aesthetics and theology via the textures of cinema. The first study to bring the thought of Nancy into sustained dialogue with a series of detailed analyses of films, Cinema and Contact also forges new interpretative perspectives on Bresson, Duras and Denis, tracing a compelling two-way exchange between cinema and philosophy.
Emmanuel Levinas (1906-1995) emerged as an influential philosophical voice in the final decades of the twentieth century, and his reputation has continued to flourish and increase in our own day. His central themes--the primacy of the ethical and the core of ethics as our responsibility to and for others--speak to readers from a host of disciplines and perspectives. However, his writings and thought are challenging and difficult. The Oxford Handbook of Levinas contains essays that aim to clarify and engage Levinas and his writings in a number of ways. Some focus on central themes of his work, others on the ways in which he read and was influenced by figures from Plato, Hobbes, Descartes, and Kant to Blanchot, Husserl, Heidegger, and Derrida. And there are essays on how his thinking has been appropriated in moral and political thought, psychology, film criticism, and more, and on the relation between his thinking and religious themes and traditions. Finally, several essays deal primarily with how readers have criticized him and found him wanting. The volume exposes and explores both the depth of Levinas's philosophical work and the range of applications to which it has been put, with special attention to clarifying why his interests in the human condition, the crisis of civilization, the centrality and character of ethics and morality, and the very meaning of human experience should be of interest to the widest range of readers.
Proposing a relationship between Levinasian ethics and film style, and bringing it into a productive dialogue with theories of performativity, this book explores this influence through three directorial bodies of work: those of Barbet Schroeder, Paul Schrader and the Dardenne Brothers.
Philosophy, and in particular continental philosophy, has provided a conceptual underpinning for cinema since its beginnings, especially in the development of cinematic aesthetics. In its turn, film has rethought the abstractions of space and time and the categories of sex and gender and has created new concepts which illuminate phenomenology, metaphysics and epistemology. "Film and Philosophy" brings together leading scholars to provide a detailed overview of the key thinkers who have shaped the field of film philosophy. The thinkers include continental and 'post-continental' philosophers, analytic philosophers, film-makers, film reviewers, sociologists, and cultural theorists.The essays reveal how philosophy can be applied to film analysis and how film can be used to illustrate philosophical problems. But more importantly, the essays explore how film has shaped what philosophy thinks and how philosophy has lead to a reappraisal of film. The book will prove an invaluable reference and guide to readers interested in a deeper understanding of the issues and insights presented by film philosophy." Film and Philosophy" includes essays on: Hugo Munsterberg, Vilem Flusser, Siegfried Kracauer, Theodor Adorno, Antonin Artaud, Henri Bergson, Maurice Merleau-Ponty, Emmanuel Levinas, Andre Bazin, Roland Barthes, Serge Daney, Jean-Luc Godard, Stanley Cavell, Jean-Luc Nancy, Jacques Derrida, Gilles Deleuze, Sarah Kofman, Paul Virilio, Jean Baudrillard, Jean-Francois Lyotard, Fredric Jameson, Felix Guattari, Raymond Bellour, Christian Metz, Julia Kristeva, Laura Mulvey, Homi Bhabha, Slavoj Zizek, Stephen Heath, Alain Badiou, Jacques Ranciere, Leo Bersani, Giorgio Agamben, and Michel Chion.
Using hybrid phenomenological approaches to film, this book focuses on how moving images are 'experienced' and 'encountered' as well as 'read' and 'viewed'. Its close engagements with films and installations by four contemporary French filmmakers explore the limits and possibilities of 'cinematic' subjectivity.
Claude Lanzmann's epic 1985 film 'Shoah' tells the story of the Holocaust through interviews with survivors of the extermination camps, bystanders who watched or participated in mass murder, and some of the perpetrators of genocide. Sue Vice addresses Lanzmann's central role in the film and the issue of representing the unrepresentable.
For well over a century, going to the movies has been a favorite pastime for billions across the globe. But is film actually good for anything? This volume brings together thirty-six scholars, critics, and filmmakers in search of an answer. Their responses range from the most personal to the most theoretical--and, together, recast current debates about film ethics. Movie watching here emerges as a wellspring of value, able to sustain countless visions of "the good life." Films, these authors affirm, make us reflect, connect, adapt; they evoke wonder and beauty; they challenge and transform. In a word, its varieties of value make film invaluable.
This distinctively interdisciplinary approach to the subject encompasses filmmaking, psychoanalysis, philosophy and popular culture and offers a unique insight into documentary film practice from a psychoanalytic perspective. At the heart of the enquiry is belief that ‘transference-love’ is present in the documentary encounter. With a focus on testimony-driven film and a foreword by Michael Renov, who calls this book 'a radical and compelling account', Psychoanalysis and Ethics in Documentary Film covers a range of topics including: Four fundamental concepts of psychoanalysis and documentary film A review of documentary film practice A personal account of the author’s relationship with a subject of her own work A thorough interrogation of the ethics of documentary Ideal for film studies scholars, psychoanalysts, psychotherapists and psychotherapeutically engaged professionals, as well as filmmakers, culture studies students and anyone interested in the process of documentary-making and contemporary culture, this work offers a unique approach.
