F I L M - P H I L O S O P H Y
The following works have been received and need reviewers.
'Deleuze, Guattari, and the Philosophy of Expression', _Canadian
Review of Comparative Literature_ (1997).
Warren Buckland, ed., _The Film Spectator_ (1995).
Guy Debord, _Comments on the Society of the Spectacle_ (1998).
Gilles Deleuze, _Negotiations_ (1995)
Harvey Roy Greenberg, _Screen Memories_ (1993).
Howard Pearce, _Human Shadows Bright as Glass_ (1997).
Heide Schlupmann, _Ein Detektiv des Kinos_ (1998).
If you would like to review one of these works then please respond as soon
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Length/Deadline for review: 2-5,000 words, 1-2 months after receipt.
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'Deleuze, Guattari, and the Philosophy of Expression', Canadian Review of
Comparative Literature, vol. 24 no. 3, September 1997.
Something, perhaps, is stirring in the state of theory. Over the last few
years, the names Gilles Deleuze and Félix Guattari have crescendoed in the
class-rooms and conference halls, making them the latest in a continuing
series of great French names to pivot English-speaking academic discourse.
After a long incubation beneath Lacan, Derrida, Baudrillard, and Foucault,
they have surfaced. But has it sunk in that Deleuze has always unabashedly
characterized his thought as a philosophy of expression? 'The world,' he
has gone so far as to say, 'does not exist outside of its expressions'. Or
that in his final publication Guattari summed up his life's work as
advancing 'a new aesthetic paradigm'? This will take some processing.
Expression, aesthetics ... perhaps ... but if we think fast maybe we can at
least spare ourselves beauty. Velvet paintings are 'beautiful.' What do
they have to do with art, or life?
[The salon is looking for a reviewer to tease out the importance any of
these essays may have for the analysis of Deleuze's philosophy of cinema
and other images.]
Warren Buckland, ed., _The Film Spectator_ (Amsterdam University Press: 1995).
. . . . brings together for the first time in English the work of European
film scholars whose aim is, in Christian Metz's famous phrase, 'to
understand how film is understood'. The authors represented in this
collection approach this aim through a unique combination of cognitive
science, pragmatics, and semiotics. _The Film Spectator_ raises once again
the most fundamental issues that have confronted film theory over the last
thirty years, but which were never adequately answered -- including the
role of narrative logic in the comprehension of film, the mental
representation of filmic space, the communicative and cognitive bases for
the spectator's construction of filmic meaning, the difference between
fiction and documentary, the role of enunciation and self-reference in film
and television texts, and the linguistic status of the point-of-view shot.
Guy Debord, _Comments on the Society of the Spectacle_, trans. Malcolm
Imrie (London and New York: Verso, 1998).
. . . Resolutely refusing to be reconciled to the system, Debord
trenchantly sliced through the doxa and mystification offered up by
journalists and pundits to show how aspects of reality as diverse as
terrorism and the environment, the Mafia and the media, were caught up in
the logic of the spectacular society. Pointing the finger at those who
benefit from the logic of domination, Debord's _Comments_ convey the
revolutionary impulse at the heart of situationism
Gilles Deleuze, _Negotiations: 1972-1990_, trans. Martin Joughin (New York:
Columbia University Press, 1995).
Including the interviews and articles 'Three Questions on Six Times Two',
'On the Movement-Image', 'On the Time-Image', 'Doubts About the Imaginary',
and 'Letter to Serge Daney: Optimism, Pessimism, and Travel'.
Harvey Roy Greenberg, _Screen Memories: Hollywood Cinema on the
Psychoanalytic Couch_ (New York: Columbia University Press, 1993).
. . . begins with an overview of the history and methods of
psychoanalytical film criticism. He next focuses upon character,
motivation, and conflict in famous examples of detective, war, science
fiction, horror, and cult cinema. He also addresses the enduring emotional
appeal of these genres to spectators from one generation to the next.
Greenberg then fuses psychoanalysis and cultural criticism. He probes a
type of big, bad pictures -- 'the McMovie' -- that emerged in Hollywood in
the 1970s and 1980s, embracing nearly every genre, with particular focus on
the hero's pathological narcissism in such films as _Rambo_ and _Top Gun_.
Howard Pearce, _Human Shadows Bright as Glass: Drama as Speculation and
Transformation_ (Lewisburg: Bucknell University Press; London: Associated
University Presses, 1997).
This book attempts a fresh approach to the dramatic experience. It begins
with a consideration of Edmund Husserl's attempt to clarify our
understanding of immediate experience and takes into account Martin
Heidegger's and Hans-Georg Gadamer's movements from that phenomenology
toward the individual's complex interactions and involvements in a world.
[Ostensibly about theatre drama the job of any reviewer is to relate the
book's ideas to the film experience.]
Heide Schlupmann, Ein Detektiv des Kinos: Studien zu Siegfried Kracauers
Filmtheorie (Basel and Frankfurt am Main: Stroemfeld/Nexus 38, 1998).
Die Moderne hat ihre Chance verpasst, im Zusammenbruch der metaphysischen
Theorien ein Sinnesverhaltnis zur physischen Welt zu kultivieren und zu
vergesellschaften. Katastropal verstellen die positiven Wissenschaften
diese Chance. Sie verstellen noch das offentliche Bewusstsein davon, dass
die Gesellschaft im Kino ein einmaliges Instrument besitzt, das
Sinneverhaltnis zur Wely zu bilden.
[The salon is just looking for a short synopsis and commentary in English.]
Film-Philosophy is an email discussion forum and website founded in
Film-Philosophy has published reviews of Stanley Cavell's Contesting Tears,
Joseph Anderson's The Reality of Illusion, Allan Casebier's Film and
Phenomenology, Noel Carroll's The Philosophy of Horror, Carl Plantinga's
Rhetoric and Representation in Nonfiction Film, Carroll's Theorizing the
Moving Image, the Iris journal's special edition on Deleuze, Mark Taylor
and Esa Saarinens' Imagologies, William Rothman's Documentary Film
Classics, Torben Grodal's Moving Pictures, Robert Phillip Kolker and Peter
Beiken's The Films of Wim Wenders, Timothy Murray's Drama Trauma, Der Film
bei Deleuze/le cinema selon Deleuze edited by Oliver Fahle and Lorenz
Engell, William Rothman's The 'I' of the Camera, Amy Lawrence's The Films
of Peter Greenaway, Richard Allen's Projecting Illusion, and Jean Louis
Schefer's The Enigmatic Body.
Currently under review are Andre Bazin's Bazin at Work, Gregory Currie's
Image and Mind, the first three Film and Philosophy journal volumes, Heike
Klippel's Gedaechtnis und Kino, Philosophy and Film edited by Cynthia
Freeland and Thomas Wartenberg, Ian Jarvie's Philosophy of the Film, Murray
Smith's Engaging Characters, Scott McQuire's Crossing the Digital
Threshold, D. N. Rodowick's Gilles Deleuze's Time Machine, Sigrid Weigel's
Body- and Image-Space, Film Theory and Philosophy edited by Richard Allen
and Murray Smith, the Antithesis journal's special edition on Time and
Memory, the journal Vertigo, Peter Bondanella's The Films of Roberto
Rossellini, Scott MacDonald's Avant-Garde Film, Deconstruction and the
Visual Arts edited by Peter Brunette and David Wills, Patrick McGee's
Cinema, Theory, and Political Responsibility in Contemporary Culture, James
Peterson's Dreams of Chaos, Visions of Order, Jacques Derrida's
Echographies de la television, Fredric Jameson's The Geopolitical
Aesthetic, the journal Pix, Paul Virilio's The Vision Machine, Jacques
Aumont's The Image, Paul Willemen's Looks and Frictions, Brian Winston's
Technologies of Seeing, Noel Carroll's A Philosophy of Mass Art, the
journal Coil, Phil Powrie's French Cinema in the 1980s, the South Atlantic
Quarterly journal's special edition on Deleuze, Gilberto Perez's The
Material Ghost, Slavoj Zizek's The Sublime Object of Ideology , Adorno and
Horkheimer's Dialectic of Enlightenment, Everything You Always Wanted to
Know About Lacan (But Were Afraid to Ask Hitchcock) edited by Slavoj Zizek,
Paul Virilio's Open Sky, Regis Debray's Media Manifestos, David Bordwell's
Making Meaning, Aesthetics and Ethics edited by Jerrold Levinson, Ron
Burnett's Cultures of Vision, Howard Caygill's Walter Benjamin: The Colour
of Experience, Celia Lury's Prosthetic Culture, Timothy Murray's Like a
Film, Cathryn Vasseleu's Textures of Light, and Jean-Clet Martin's L'Image
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