Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno - affiliated through friendship, professional ties, and argument - developed an astute philosophical critique of modernity in which technological media played a key role. This book explores in depth their reflections on cinema and photography from the Weimar period up to the 1960s. Miriam Bratu Hansen brings to life an impressive archive of known and, in the case of Kracauer, less known materials and reveals surprising perspectives on canonic texts, including Benjamin's artwork essay. Her lucid analysis extrapolates from these writings the contours of a theory of cinema and experience that speaks to questions being posed anew as moving image culture evolves in response to digital technology.
具體描述
讀後感
The question of how “to engage a living thought that is no longer historically current,” raised by Fredric Jameson with regard to Theodor W. Adorno, 【德国电影研究】 1980s美国的电影研究：心理分析-符号学 电影理论，拉康、弗洛伊德、阿尔都塞-马克思主义、女性...
評分The question of how “to engage a living thought that is no longer historically current,” raised by Fredric Jameson with regard to Theodor W. Adorno, 【德国电影研究】 1980s美国的电影研究：心理分析-符号学 电影理论，拉康、弗洛伊德、阿尔都塞-马克思主义、女性...
評分The question of how “to engage a living thought that is no longer historically current,” raised by Fredric Jameson with regard to Theodor W. Adorno, 【德国电影研究】 1980s美国的电影研究：心理分析-符号学 电影理论，拉康、弗洛伊德、阿尔都塞-马克思主义、女性...
評分The question of how “to engage a living thought that is no longer historically current,” raised by Fredric Jameson with regard to Theodor W. Adorno, 【德国电影研究】 1980s美国的电影研究：心理分析-符号学 电影理论，拉康、弗洛伊德、阿尔都塞-马克思主义、女性...
評分The question of how “to engage a living thought that is no longer historically current,” raised by Fredric Jameson with regard to Theodor W. Adorno, 【德国电影研究】 1980s美国的电影研究：心理分析-符号学 电影理论，拉康、弗洛伊德、阿尔都塞-马克思主义、女性...
用戶評價
難能可貴的電影研究學者
评分隻草草讀瞭剋拉考爾的部分，很受啓發。1、剋拉考爾早期關注的是cinema而非film，可以證明其電影理論中的空間觀念；2、魏瑪時期與美國時期對《街道》的不同判斷證明瞭其電影觀的流轉；3、《電影的本性》是一本“去曆史”的著作，對開放、偶然的推崇指嚮瞭更為廣闊的“生命之流”。
评分學者的榜樣
评分隻草草讀瞭剋拉考爾的部分，很受啓發。1、剋拉考爾早期關注的是cinema而非film，可以證明其電影理論中的空間觀念；2、魏瑪時期與美國時期對《街道》的不同判斷證明瞭其電影觀的流轉；3、《電影的本性》是一本“去曆史”的著作，對開放、偶然的推崇指嚮瞭更為廣闊的“生命之流”。
评分對K,B,A三人非常紮實的細讀和來迴穿梭。等閑瞭 我要寫一個批判“詩詞大會”的東西 就用這三個人的理論 特彆是mythological retreat 和 decaying aura
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