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OverviewWhat is the fundamental nature of the filmic object: is it a commodity or is it, can it be, art? What would that mean - can it still matter? This book introduces the thought of Theodor Adorno into film studies to repair the schism that characterizes the field, as historical and cultural modes of analysis displace theoretical and philosophical ones. Full Product DetailsAuthor: B. WallPublisher: Palgrave Macmillan Imprint: Palgrave Macmillan Dimensions: Width: 14.00cm , Height: 1.00cm , Length: 21.60cm Weight: 3.403kg ISBN: 9781137306135ISBN 10: 1137306130 Pages: 173 Publication Date: 18 March 2013 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: In Print  This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us. Table of Contents"Introduction: The Fingerprint of Spirit 1. The Subject/Object of Cinema: The Maltese Falcon (1941) 2. ""A Deeper Breath"": From Body to Spirit in Kiss Me Deadly (1955) 3. Negative Dioretix: Repo Man (1984) 4. ""Jackie Treehorn Treats Objects Like Women!"": Two Types of Fetishism in The Big Lebowski (1988)"ReviewsTo come. Author InformationBrian Wall is an assistant professor in the Cinema Department at Binhamton University, SUNY. Tab Content 6Author Website:Countries AvailableAll regions |
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