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The woman s picture, the male trauma narrative, and mind-game films three ways that American cinema tests the limits: of what victims can suffer, what the body can bear, and what the mind can understand. Usually considered both marginal and excessive, these genres, modes, or tendencies in contemporary Hollywood have more in common than might at first appear. They tell us much about the way America engages in dialogue with its own divided nature and nation, demonstrated across its most cherished and characteristic of art forms: the movies."

This groundbreaking inaugural volume for the Thinking Cinema series focuses on the extent to which contemporary cinema contributes to political and philosophical thinking about the future of Europe's core Enlightenment values. In light of the challenges of globalization, multi-cultural communities and post-nation state democracy, the book interrogates the borders of ethics and politics and roots itself in debates about post-secular, post-Enlightenment philosophy.

By defining a cinema that knows that it is no longer a competitor to Hollywood (i.e. the classic self-other...

In German Cinema - Terror and Trauma Since 1945, Thomas Elsaesser reevaluates the meaning of the Holocaust for postwar German films and culture, while offering a reconsideration of trauma theory today. Elsaesser argues that Germany's attempts at "mastering the past" can be seen as both a failure and an achievement, making it appropriate to speak of an ongoing 'guilt management' that includes not only Germany, but Europe as a whole. In a series of case studies, which consider the work of Konrad Wolf, Alexander Kluge, Rainer Werner Fassbinder, Herbert Achterbusch and Harun Farocki, as...

The woman s picture, the male trauma narrative, and mind-game films three ways that American cinema tests the limits: of what victims can suffer, what the body can bear, and what the mind can understand. Usually considered both marginal and excessive, these genres, modes, or tendencies in contemporary Hollywood have more in common than might at first appear. They tell us much about the way America engages in dialogue with its own divided nature and nation, demonstrated across its most cherished and characteristic of art forms: the movies.

This text presents the most appropriate theories and methods for analyzing contemporary America cinema. Using an innovative approach to writing about individual movies, each of the main chapters examines the assumptions behind one traditional theory of film (e.g. auteurism, narratology, psychoanalysis), distills a method of analysis from it, and then analyzes a contemporary American movie. The text then goes beyond traditional theory by analyzing the same movie using a more current theory and method (e.g. new media theory, deconstruction, cognitivism).

What is the relationship between cinema and spectator? This is the key question for film theory, and one that Thomas Elsaesser and Malte Hagener put at the center of their insightful and engaging book, now revised from its popular first edition. Every kind of cinema (and every film theory) first imagines an ideal spectator, and then maps certain dynamic interactions between the screen and the spectator's mind, body and senses. Using seven distinctive configurations of spectator and screen that move progressively from 'exterior' to 'interior' relationships, the authors retrace the most...

What is the relationship between cinema and spectator? This is the key question for film theory, and one that Thomas Elsaesser and Malte Hagener put at the center of their insightful and engaging book, now revised from its popular first edition. Every kind of cinema (and every film theory) first imagines an ideal spectator, and then maps certain dynamic interactions between the screen and the spectator's mind, body and senses. Using seven distinctive configurations of spectator and screen that move progressively from 'exterior' to 'interior' relationships, the authors retrace the most...

This groundbreaking inaugural volume for the Thinking Cinema series focuses on the extent to which contemporary cinema contributes to political and philosophical thinking about the future of Europe's core Enlightenment values. In light of the challenges of globalization, multi-cultural communities and post-nation state democracy, the book interrogates the borders of ethics and politics and roots itself in debates about post-secular, post-Enlightenment philosophy.

By defining a cinema that knows that it is no longer a competitor to Hollywood (i.e. the classic self-other...