Synopses & Reviews
Directly contributing to the growing interdisciplinary areas of film-philosophy and modernist studies, as well as film history and theory, Post-War Modernist Cinema and Philosophy: Confronting Negativity and Time analyses four exemplary 1960s European films. Persona (Ingmar Bergman, 1966) and Two or Three Things I Know About Her (Jean-Luc Godard, 1966) are addressed for their unique contributions to the philosophical understanding of negativity, a discussion for which German philosopher Theodor Adorno's late work is the main literary source. Last Year in Marienbad (Alain Resnais, 1961) and L'eclisse (Michelangelo Antonioni, 1962) are read through their contrasting subversive renderings of temporality, an analysis selectively utilising French philosopher Gilles Deleuze's notion of the 'time-image'. Appropriate for both academic readers and informed general enthusiasts of the cinema it addresses, the book demonstrates both philosophy's particular usefulness for the analysis of modernist cinema and film form's inherent potential for radical philosophical impact.
'Ford draws on a wide range of research across film, modernist cultural and aesthetic theory and continental philosophical terrains. The work engages both with more recent film-philosophy scholarship and the disciplinary resources of film studies work on the movements and individual filmmakers in question. A successful and important contribution to scholarship on these films, their historical and aesthetic significance and their capacity to 'do' philosophy.' - Patrick Crogan, University of the West of England, UK
A unique study of four major post-war European films by four key 'auteurs', which argues that these films exemplify film modernism at the peak of its philosophical reflection and aesthetic experimentation.
About the Author
HAMISH FORD is Lecturer in Film, Media and Cultural Studies at Newcastle University, Australia. He has published journal articles in The Year's Work in Critical and Cultural Theory, Senses of Cinema and Real Time, and has contributed to books including New Takes in Film-Philosophy (Palgrave, 2011).
Table of Contents
PART I: THE NEGATIVE IMPRESSION
Cinema's Ontological Challenge
Reflexive Formal Violence
PART II: AN ANXIOUS PAUSE
A New World