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Negative Aesthetics and Political Collapse in Eastern European and Balkan Cinema (Routledge Advances in Film Studies) - Hardcover
Inhaltsangabe
This book examines the theme of political collapse in select contemporary Eastern European and Balkan art cinema and documentaries from the late eighties to the present. It will interest scholars of film theory, global art cinema aesthetics, regional studies of Eastern Europe and the Balkans, and political science.
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Über die Autorin bzw. den Autor
Zoran Samardzija is a Professor in the School of Film and Television at Columbia College Chicago, USA. He primarily teaches courses in cinema and television studies. He has published several articles on European and American cinemas. His first book, Post¿Communist Malaise: Cinematic Responses to European Integration, was published in 2020.
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Hardcover. Zustand: new. Hardcover. Negative Aesthetics and Political Collapse in Eastern European and Balkan Cinema examines the theme of political collapse in select contemporary Eastern European and Balkan art cinema and documentaries from the late eighties to the present.Engaging with debates in Marxism and contemporary film theory about political aesthetics, the book centers around the question of whether we can imagine possible futures through negative aesthetics, which are skeptical of cinemas ability to reproduce reality in a comprehensive and unmediated manner. In particular, it analyzes examples of ambiguous art cinema and related hybrid documentary modes in order to invite spectators to rethink how we understand and represent the unique experiences of living through the collapse of authoritarian communism and the transition to neoliberal capitalism. Negative Aesthetics and Political Collapse ultimately argues that the skepticism about political change and representing history found in these films forms an original mode of utopian thinking. In other words, their negativity about their own artistic autonomy is the very thing that allows them to hint at possible futures that are unpresentable because they exist outside of the frameworks of contemporary geopolitics and our dominant understandings of cinematic aesthetics.Redefining how we understand the intersections between geopolitics, art cinema aesthetics, and film theory, the book presents a unique synthesis of film and political theory that attempts a new understanding of cinematic aesthetics. As such, it will interest scholars of film theory, global art cinema aesthetics, regional studies of Eastern Europe and the Balkans, and political science. This book examines the theme of political collapse in select contemporary Eastern European and Balkan art cinema and documentaries from the late eighties to the present. It will interest scholars of film theory, global art cinema aesthetics, regional studies of Eastern Europe and the Balkans, and political science. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability. Bestandsnummer des Verkäufers 9781032819952
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Buch. Zustand: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Negative Aesthetics and Political Collapse in Eastern European and Balkan Cinema examines the theme of political collapse in select contemporary Eastern European and Balkan art cinema and documentaries from the late eighties to the present.Engaging with debates in Marxism and contemporary film theory about political aesthetics, the book centers around the question of whether we can imagine possible futures through negative aesthetics, which are skeptical of cinema's ability to reproduce reality in a comprehensive and unmediated manner. In particular, it analyzes examples of ambiguous art cinema and related hybrid documentary modes in order to invite spectators to rethink how we understand and represent the unique experiences of living through the collapse of authoritarian communism and the transition to neoliberal capitalism. Negative Aesthetics and Political Collapse ultimately argues that the skepticism about political change and representing history found in these films forms an original mode of utopian thinking. In other words, their negativity about their own artistic autonomy is the very thing that allows them to hint at possible futures that are unpresentable because they exist outside of the frameworks of contemporary geopolitics and our dominant understandings of cinematic aesthetics.Redefining how we understand the intersections between geopolitics, art cinema aesthetics, and film theory, the book presents a unique synthesis of film and political theory that attempts a new understanding of cinematic aesthetics. As such, it will interest scholars of film theory, global art cinema aesthetics, regional studies of Eastern Europe and the Balkans, and political science. 162 pp. Englisch. Bestandsnummer des Verkäufers 9781032819952
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