Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. Kappelhoff applies the Deleuzean practice of "thinking in images" to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience.
Based on the premise that a society’s sense of commonality depends upon media practices, this study examines how Hollywood responded to the crisis of democracy during the Second World War by creating a new genre - the war film. Developing an affective theory of genre cinema, the study’s focus on the sense of commonality offers a new characterization of the relationship between politics and poetics. It shows how the diverse ramifications of genre poetics can be explored as a network of experiental modalities that make history graspable as a continuous process of delineating the limits of community.
Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research. The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of information. Cinematic Metaphor proposes an alternative: starting from film images as affective experience of movement-images, it replaces the cognitive idea of viewers as information-processing machines, and heals the break with rhetoric established by conceptual metaphor theory. Subscribing to a phenomenological concept of embodiment, a shared vantage point for metaphorical meaning-making in film-viewing and face-to-face interaction is developed. The book offers a critique of cognitive film and metaphor theories and a theory of cinematic metaphor as performative action of meaning-making, grounded in the dynamics of viewers' embodied experiences with a film. Fine-grained case studies ranging from Hollywood to German feature film and TV news, from tango lesson to electoral campaign commercial, illustrate the framework’s application to media and multimodality analysis.
Based on the premise that a society’s sense of commonality depends upon media practices, this study examines how Hollywood responded to the crisis of democracy during the Second World War by creating a new genre - the war film. Developing an affective theory of genre cinema, the study’s focus on the sense of commonality offers a new characterization of the relationship between politics and poetics. It shows how the diverse ramifications of genre poetics can be explored as a network of experiental modalities that make history graspable as a continuous process of delineating the limits of community.
Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research. The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of information. Cinematic Metaphor proposes an alternative: starting from film images as affective experience of movement-images, it replaces the cognitive idea of viewers as information-processing machines, and heals the break with rhetoric established by conceptual metaphor theory. Subscribing to a phenomenological concept of embodiment, a shared vantage point for metaphorical meaning-making in film-viewing and face-to-face interaction is developed. The book offers a critique of cognitive film and metaphor theories and a theory of cinematic metaphor as performative action of meaning-making, grounded in the dynamics of viewers' embodied experiences with a film. Fine-grained case studies ranging from Hollywood to German feature film and TV news, from tango lesson to electoral campaign commercial, illustrate the framework’s application to media and multimodality analysis.
Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. Kappelhoff applies the Deleuzean practice of "thinking in images" to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience.
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One in a series of short books devoted to different countries that offers much-needed cross-cultural and global material to instructors. Used alongside an introductory sociology text or as a supplement in courses on comparative societies, comparative politics, comparative economics, or social stratification, this book brings a rich global perspective into the undergraduate classroom. The opening chapter establishes historical and cultural context, while subsequent chapters focus on the basic institutions, social stratification, social problems and social change. The chapter organization is typical of a standard introductory sociology text making it easy to use in any class.In Modern Germany, the authors seek to help create a deeper understanding of German society and culture for people outside of Germany. Throughout the book, frequent comparisons are utilized, showing the similarities and differences between Germany and other modern societies, particularly the United States.
McGraw-Hill Humanities, Social Sciences & World Languages
Published Date
ISBN 10
0072928190
ISBN 13
9780072928198
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