By Martin Walsh
Creation / by way of Keith M. Griffiths
The complicated seer, Brecht and the film
The political comic story in "Happiness"
Political formations within the cinema of Jean-Marie Straub
"History lesson", Brecht and Straub/Huillet
"Introduction to Arnold Schoenberg's 'Accompaniment for a cinematographic scene'"
"Moses and Aaron", Straub and Huillet's Schoenberg
Losey, Brecht, and "Galileo"
Godard and me, Jean-Pierre Gorin talks
Draft define, the Brechtian element of radical cinema
Martin Walsh, biography and articles released.
Read or Download The Brechtian Aspect of Radical Cinema PDF
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Extra resources for The Brechtian Aspect of Radical Cinema
15. One could, I suppose, argue that Jesus – the protagonist of a number of ﬁlms from Hollywood and elsewhere – was a philosopher. But his thought is not usually a central feature of these ﬁlms. ) Scorsese’s 1988 The Last Temptation of Christ may be an honourable exception here. 16. McKenna (2002), (accessed on-line 28/7/04). 17. Hence perhaps the novelty of Descartes’ ﬁrst-person narrative of the Meditations or Hume’s occasional importation of himself into his Treatise (‘when I enter most intimately into what I call my self…’).
Lm(s) as actually doing philosophical work, rather than merely illustrating philosophical theses. If this book succeeds, then, it will succeed among other things in showing that diverse ﬁlms can be/do philosophy. But why should it be thought that such a task uniquely has to do with Wittgenstein and Cavell? Is it because these two philosophers have a powerful ﬁlm theory which can reach ﬁlms – or aspects of those ﬁlms – beyond the grasp of ‘Psychoanalytical theory’ or ‘Cognitive theory’? 1 It is a striking feature of the essays in this collection, especially evident perhaps in the essay by Critchley, that they do not attempt to apply any ﬁlm theory, not even an allegedly ‘Wittgensteinian’ one, to the ﬁlms they discuss.
At times, he is trying to produce order in his own thoughts, to get things clear to himself. But at other times X tries to order the world, to get the events outside of himself to match his mental picture of them. In the most notorious instance of this, what appears cinematically to be leading towards a depiction of X’s rape of A is headed off by a burst of ecstatic music and images while X’s voiceover denies almost hysterically what is being implied. (‘Non, non, non! … Ce n’était pas de force….