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This volume explores the place of the sublime in contemporary culture and the aesthetic, cultural, and political values coded in it. It offers a map of the contemporary sublime in terms of the limits¿cinematic, cognitive, neurophysiological, technological, or environmental¿of representation.

Keine Beschreibung.

This volume explores the place of the sublime in contemporary culture and the aesthetic, cultural, and political values coded in it. It offers a map of the contemporary sublime in terms of the limits¿cinematic, cognitive, neurophysiological, technological, or environmental¿of representation.

European Film Theory explores the 'Europeanness' of European film theory, its philosophical origins, the 'culture wars' between 'Continental' and 'Analytical' film theory and philosophy, the major discursive and epistemological shifts in the history of Continental film theory, the relationship between Continental philosophy of art and philosophy of history and European film theory. Writing from a range of disciplines and perspectives, the cont...

This new volume in the AFI Film Readers series presents a long overdue reassessment of European cinema and film theory, and explores how a new Europe and a new European cinema have informed one another. In this collection of newly commissioned essays, established and emerging film scholars including Thomas Elsaesser, Tom Conley, Warren Buckland, and Noël Carroll, explore a wide range of topics including the philosophical origins of European fi...

Warped Minds explores the transformation of psychopathologies into cultural phenomena in the wake of the transition from an epistemological to an ontological approach to psychopathology. Trifonova considers several major points in this intellectual history: the development of a dynamic model of the self at the fin de siècle, the role of photography and film in the construction of psychopathology, the influence of psychoanalysis on the transiti...

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The Image in French Philosophy challenges dominant interpretations of Bergson, Sartre, Lyotard, Baudrillard and Deleuze by arguing that their philosophy was not a critique but a revival of metaphysics as a thinking pertaining to impersonal forces and distinguished by an aversion to subjectivity and an aversion of the philosophical gaze away from the discourse of vision, and thus away from the image. Insofar as the image was part of the discour...