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Archivo, memoria, cine, literatura y política. Desde una perspectiva intermedial, los ensayos reunidos en el libro analizan las relaciones entre estos campos en Argentina y Chile durante las últimas décadas. Un eje aborda las estrategias de (anti)memoria en dictadura, postdictadura y las democracias neoliberales, entre los años 80 y la actualidad; otro eje reflexiona sobre las nuevas coordenadas del cine argentino como territorio paradigmático del arte contemporáneo. Se articulan textos y films de los chilenos Gonzalo Justiniano, Pablo Larraín, Enrique Lihn, Germán Marín, Gonzalo Millán, Pablo Perelman y varias documentalistas chilenas; y films de los argentinos Lisandro Alonso, Anahí Berneri, Albertina Carri, Santiago Loza, Lucrecia Martel, Santiago Mitre y Celina Murga.

Chilean literature. --- Modern Languages and Linguistics --- Chile --- Literary Studies --- Communication --- Film studies --- Argentina --- Documentaries

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Porno-Graphics and Porno-Tactics asks whether, and how, it is possible to re-appropriate pornography and think through it critically and creatively for a project of liberation. In the different contributions which make up this deliberately heterogeneous collection of short, non-canonical essays, such quest proceeds by re-articulating the aporias of desire, intimacy, touch and seduction. It also relates them to claims of visibility, visions of emancipation and its failures, as well as to the politics of violence that we get exposed to through circulating images and affects. This is an attempt to exceed the limits set by and for ourselves in relation to how we connect to our own bodies, to the bodies of our lovers and to the bodies of the theories we live with, sleep with and dream about -- in short, to all that we get attached to. The editors and contributors of this collection do not claim the euphoric potentiality of pornography as necessarily subversive and emancipatory, but open up to the possibilities of re-shaping it (in textual, contextual, intertextual, but also affective and embodied forms) through different graphic and tactical/tactile inscriptions. On the one hand, authors reflect on definitions and practices of pornography as a genre adopting specific codes and canons, whether it is concerned with sex acts and the industry of porn or with other predominant forms of representation and the structures of power underlying them. On the other hand, chapters relate to the more affective, libidinal, synaesthetic and inter/subjective dimensions of pornography, and on the capacity of different reappropriations to subvert its limits.

Sex industry. --- Mass media and sex. --- Sex in popular culture. --- Pornography --- Pornography. --- pornography --- film studies --- gender studies --- queer studies --- cultural theory --- Social aspects.

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Porno-Graphics and Porno-Tactics asks whether, and how, it is possible to re-appropriate pornography and think through it critically and creatively for a project of liberation. In the different contributions which make up this deliberately heterogeneous collection of short, non-canonical essays, such quest proceeds by re-articulating the aporias of desire, intimacy, touch and seduction. It also relates them to claims of visibility, visions of emancipation and its failures, as well as to the politics of violence that we get exposed to through circulating images and affects. This is an attempt to exceed the limits set by and for ourselves in relation to how we connect to our own bodies, to the bodies of our lovers and to the bodies of the theories we live with, sleep with and dream about -- in short, to all that we get attached to. The editors and contributors of this collection do not claim the euphoric potentiality of pornography as necessarily subversive and emancipatory, but open up to the possibilities of re-shaping it (in textual, contextual, intertextual, but also affective and embodied forms) through different graphic and tactical/tactile inscriptions. On the one hand, authors reflect on definitions and practices of pornography as a genre adopting specific codes and canons, whether it is concerned with sex acts and the industry of porn or with other predominant forms of representation and the structures of power underlying them. On the other hand, chapters relate to the more affective, libidinal, synaesthetic and inter/subjective dimensions of pornography, and on the capacity of different reappropriations to subvert its limits.

Sex industry. --- Mass media and sex. --- Sex in popular culture. --- Pornography --- Pornography. --- Social aspects. --- pornography --- film studies --- gender studies --- queer studies --- cultural theory

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Filmphilosophie ist ein - im deutschsprachigen Raum noch junges - Spezialthema der Ästhetik. Der Chicagoer Philosoph Robert B. Pippin, ein international anerkannter Interpret Hegels und Nietzsches analysiert in seinen Filmbüchern - Hollywood Western and the American Myth und Fatalism in Film Noir - zwei zentrale Filmgenres und untersucht in seinen neuesten Forschungen das Kino der belgischen Brüder Dardenne. Im vorliegenden Band beschäftigen sich, nach einem Beitrag Pippins zu den Dardennes, zwölf Autorinnen und Autoren aus Europa, den USA und Kanada mit Pippins Filmphilosophie: 1) allgemein mit dem Themenraum "Film und Philosophie"; 2) mit Lektüren des Western, u.a. mit der Darstellung des "American South" in diesem Genre; 3) mit dem Film Noir, wobei Pippins Analysen mit den Interpretationen von Deleuze und Žižek verglichen werden, und eine der Schlüsselfiguren der Schwarzen Serie, die Femme Fatale, ausführlich fokussiert wird. Das Buch ist der weltweit erste Diskussionsband zur Pippinschen Filmphilosophie und von Interesse für die Disziplinen Philosophie, Amerikanistik, Filmwissenschaft, Cultural und Gender Studies.

Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Philosophy --- History and criticism --- Pippin, Robert B., --- Criticism and interpretation --- American Studies. --- Film Studies. --- Gender Studies.

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Hitler's Machtergreifung, or seizure of power, on January 30, 1933, marked the end of the Weimar Republic and the beginning of the Third Reich, and German film scholarship has generally accepted this date as the break between Weimar and Nazi-era film as well. This collection of essays interrogates the continuities and discontinuities in German cinema before and after January 1933 and theirrelationship to the various crises of the years 1928 to 1936 in seven areas: politics, the economy, concepts of race and ethnicity, the making of cinema stars, genre cinema, film technologies and aesthetics, and German-international film relations. Focusing both on canonical and lesser-known works, the essays analyze a representative sample of films and genres from the period. This book will be ofinterest to scholars and students of Weimar and Third Reich cinema and of the sociopolitical, economic, racial, artistic, and technological spheres in both late Weimar and the early Third Reich, as well as to film scholars in general. Contributors: Paul Flaig, Margrit Frölich, Barbara Hales, Anjeana Hans, Bastian Heinsohn, Brook Hnyuel, Kevin B. Johnson, Owen Lyons, Richard W. McCormick, Kalani Michell, Mihaela Petrescu, Christian Rogowski, Valerie Weinstein, Wilfried Wilms. Barbara Hales is Associate Professor of History at the University of Houston-Clear Lake. MihaelaPetrescu is Visiting Lecturer at the University of Pittsburgh. Valerie Weinstein is Assistant Professor of Women's, Gender, and Sexuality Studies and German Studies at the University of Cincinnati.

Motion pictures --- History --- Social aspects --- Political aspects --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- European history. --- German cinema. --- Hitler. --- Nazism. --- World War II. --- anthropology. --- film scholarship. --- film studies. --- history of film. --- media studies. --- sociology. --- twentieth century Germany.