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Autor(en): 
  • Sam B. Girgus
  • Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine 
     

    (Buch)
    Dieser Artikel gilt, aufgrund seiner Grösse, beim Versand als 2 Artikel!


    Übersicht

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    Lieferstatus:   i.d.R. innert 14-24 Tagen versandfertig
    Veröffentlichung:  April 2010  
    Genre:  Philosophie 
    ISBN:  9780231147644 
    EAN-Code: 
    9780231147644 
    Verlag:  Columbia University Press 
    Einband:  Gebunden  
    Sprache:  English  
    Serie:  Film and Culture Series  
    Dimensionen:  H 229 mm / B 152 mm / D 0 mm 
    Gewicht:  476 gr 
    Seiten:  272 
    Illustration:  8 illus. 
    Bewertung: Titel bewerten / Meinung schreiben
    Inhalt:
    In his philosophy of ethics and time, Emmanuel Levinas noted the tension that exists between the "ontological adventure" of immediate experience and the "ethical adventure" of redemptive relationships& mdash;associations in which absolute responsibility engenders a transcendence of being and self. In an original commingling of philosophy and cinema study, Sam B. Girgus applies Levinas's ethics to a variety of international films. His effort points to a transnational pattern he terms the "cinema of redemption," a genre that portrays the struggle to connect to others in redeeming ways. Girgus not only reveals the power of these films to articulate the crisis between ontological identity and ethical subjectivity. He also locates time and ethics within the structure and content of film itself. Drawing on the work of Luce Irigaray, Tina Chanter, Kelly Oliver, and Ewa Ziarek, Girgus reconsiders Levinas and his relationship to film, adapting the intellectual's theory to engage a feminist focus on the sexualized female body. Girgus offers fresh readings of films from several decades and cultures, including Frank Capra's Mr. Smith Goes to Washington (1939), Federico Fellini's La dolce vita (1959), Michelangelo Antonioni's L'avventura (1960), John Huston's The Misfits (1961), and Philip Kaufman's The Unbearable Lightness of Being (1988).

      



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