Difference between revisions of "Cinema (book)"
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==Book Description== | ==Book Description== | ||
+ | For [[Alain]] [[Badiou]], [[films]] [[think]], and it is the task of the [[philosopher]] to transcribe that [[thinking]]. What is the [[subject]] to which the [[film]] gives expressive [[form]]? This is the question that lies at the heart of Badiou’s account of [[cinema]]. | ||
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+ | He contends that cinema is an art form that bears [[witness]] to the [[Other]] and renders [[human]] [[presence]] [[visible]], thus testifying to the [[universal]] [[value]] of human [[existence]] and human [[freedom]]. Through the [[experience]] of viewing, the movement of [[thought]] that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the [[world]] and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its [[times]], the other [[arts]], and [[people]] – a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the [[social]] and [[political]] art ''par excellence'', the best indicator of our [[civilization]], in the way that Greek [[tragedy]], the coming-of-age novel and the operetta were in their respective eras. |
Latest revision as of 03:58, 24 May 2019
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