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Onde se encontra a análise fílmica hoje? O que e que a teoria de cinema anda a desenvolver na obscuridade? Este campo, tal como foi definido profissionalmente (pelo menos no mundo academico anglo-saxónico), encontra-se actualmente dividido entre historiadores interessados no contexto das grandes formações da modernidade e connoisseurs que reclamam o regresso estilístico de coisas antiquadas como a visão autoral, o tom ou a mise-en-scene. Mas há tambem outras correntes, vitais e inventivas -- na crítica, na internet, em pequenas revistas, em conferências renegadas um pouco por todo o lado --, que não estamos a conseguir escutar em nenhum dos canais oficiais. Último Dia Todos os Dias, de Adrian Martin -- nesta edição acompanhado do ensaio "Avatares do Encontro" --, lança uma luz sobre estas novas e excitantes avenidas.Publicado originalmente como Last Day Every Day: Figural Thinking from Auerbach and Kracauer to Agamben and Brenez, em 2012, por Dead Letter Office, uma serie da editora punctum books. Esta edição foi produzida conjuntamente por Centro de Estudos Comparatistas | Faculdade de Letras da Universidade de Lisboa e punctum books, 2015.

Motion pictures --- Film criticism. --- Philosophy. --- film studies --- Eric Auerbach --- Siegfried Kracauer --- Nicole Brenez --- Douglas Sirk

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This book explores Walter Benjamin, Siegfried Kracauer and Alexander Kluge's analyses of the role that a rejuvenation in the capacity for imagination can play in encouraging us to reconceive the possibilities of the past, the present, and the future outside of the parameters of the status quo. The concept of imagination to which the title of the book refers is not a strictly defined, stable concept, but rather a term which is employed to refer to a capacity that facilitates both an active, creative relationship to one's environment, and a process of mediation between the outside world and one's own experiences and memories. Through a detailed analysis of their engagements with subjects that span a broad range of historical and thematic contexts (including topics as diverse as literature, children's play, film, photography, history, and television) the book charts the extent to which the concept of imagination plays a central role in Benjamin, Kracauer, and Kluge's explorations of a mode of perception and experience which could serve as a catalyst for the creation and sustenance of a desire for a different kind of future. Reviewed in: cultural studies review, 14/2, 9 (2008), Lisa McDonald fsk Hamburg, 09.08.2009, Olaf Berg

Media studies --- Aesthetics. --- Alexander Kluge. --- Cultural Theory. --- Culture. --- Film. --- Imagination. --- Literature. --- Media Philosophy. --- Media Studies. --- Media Theory. --- Media. --- Siegfried Kracauer. --- Walter Benjamin. --- Movie; Media; Culture; Literature; Imagination; Walter Benjamin; Siegfried Kracauer; Alexander Kluge; Aesthetics; Film; Media Theory; Media Philosophy; Cultural Theory; Media Studies --- Arts --- Perception (Philosophy) --- Political aspects. --- Philosophy --- Movie --- Media --- Culture --- Literature --- Imagination --- Walter Benjamin --- Siegfried Kracauer --- Alexander Kluge --- Aesthetics --- Film --- Media Theory --- Media Philosophy --- Cultural Theory --- Media Studies

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Siegfried Kracauer (1889-1966), friend and colleague of Walter Benjamin and Theodor Adorno, was one of the most influential film critics of the mid-twentieth century. In this book, Johannes von Moltke and Kristy Rawson have, for the first time assembled essays in cultural criticism, film, literature, and media theory that Kracauer wrote during the quarter century he spent in America after fleeing Nazi-occupied Europe. In the decades following his arrival in the United States, Kracauer commented on developments in American and European cinema, wrote on film noir and neorealism, examined unsettling political trends in mainstream cinema, and reviewed the contemporary experiments of avant-garde filmmakers. As a cultural critic, he also ranged far beyond cinema, intervening in debates regarding Jewish culture, unraveling national and racial stereotypes, and reflecting on the state of arts and humanities in the 1950's. These essays, together with the editors' introductions and an afterward by Martin Jay offer illuminating insights into the films and culture of the postwar years and provide a unique perspective on this eminent émigré intellectual.

Kracauer, Siegfried, 1889-1966 -- Criticism and interpretation. --- Kracauer, Siegfried, 1889-1966. Theorie des Films. --- Motion pictures. --- Motion pictures -- History. --- Motion pictures --- Music, Dance, Drama & Film --- Film --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Film reviews --- Motion picture plays --- Motion picture reviews --- Movie reviews --- Reviews of motion pictures --- History and criticism --- Audio-visual materials --- Mass media --- Performing arts --- 1950s america. --- 20th century. --- american and european cinema. --- biographical novels. --- book club reads. --- books for movie lovers. --- cinema trends. --- differences in american and european film. --- discussion books. --- easy to read. --- film and cinema. --- film critic books. --- film history. --- film theory. --- gifts for friends. --- history of cinema. --- history. --- how to be a movie critic. --- learning while reading. --- leisure reads. --- page turner. --- performing arts. --- political trends in film. --- postwar history. --- siegfried kracauer. --- speakeasy. --- vacation reads. --- walter benjamin.

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In his doctoral dissertation, Christoph Seelinger provides an overview of strategies for legitimizing and functionalizing documentary death scenes in narrative cinema. Seelinger's chronological arc begins with the earliest animal deaths on camera, such as the filmed execution of the female elephant Topsy in »Electrocuting an Elephant – Thomas A. Edison« (1903), and it continues to the glossy snuff videos of the Islamic State's media department in the 2010s. Between these two poles, the author – with the same academic scrutiny – looks at established arthouse films, but all also at countless representations of station cinema that have been dismissed as trash and exploitation and have so far eluded academic research. The result is a foray through the more ostracized regions of cinema history and, in the process, nothing less than the first detailed history of the intrusion of real depictions of death into the fiction of the feature film. Christoph Seelinger liefert in seiner Promotionsschrift einen Überblick über Legitimations- und Funktionalisierungsstrategien dokumentarischer Toten- und Todesszenen im Erzählkino. Seelingers chronologischer Bogen beginnt bei den frühesten animalischen Toden vor laufender Kamera wie beispielsweise der filmisch festgehaltenen Hinrichtung des Elefantenweibchens Topsy in »Electrocuting an Elephant – Thomas A. Edison« (1903) und er führt bis zu den Hochglanz-Snuff-Videos der Medienabteilung des Islamischen Staates in den 2010er Jahren. Zwischen diesen beiden Polen betrachtet der Autor mit derselben medienwissenschaftlichen Hinwendung arrivierte Arthouse-Filme, vor allem aber auch zahllose als Trash und Exploitation abqualifizierte Vertreter des Bahnhofskinos, die einem akademischen Zugriff bislang entzogen waren. Das Ergebnis ist ein Streifzug durch die verfemteren Regionen der Kinogeschichte und dabei nichts weniger als die erste auführliche Geschichte des Einbruchs realer Todesdarstellungen in die Fiktion des Spielfilms.

Experimental films --- Humanities --- Benjamin, Walter, --- Kracauer, Siegfried, --- Germany --- death and cinema --- death and photography --- snuff films --- death in film --- Learning and scholarship --- Classical education --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Motion pictures --- Video art --- Ginster, --- Kracauer, S. --- Krakauėr, Z. --- Krakauėr, Zigfrid --- Banyaming, --- Benjamin, W. --- Benʼyamin, Varutā, --- Binyamin, Ṿalṭer, --- Holz, Detlef, --- Peñcamin̲, Vālṭṭar, --- Penyamin, Palt'ŏ, --- Alemania --- Ashkenaz --- BRD --- Bu̇gd Naĭramdakh German Uls --- Bundesrepublik Deutschland --- Deguo --- Deutsches Reich --- Deutschland --- Doitsu --- Doitsu Renpō Kyōwakoku --- Federal Republic of Germany --- Federalʹna Respublika Nimechchyny --- FRN --- Gėrman --- German Uls --- Germania --- Germanii︠a︡ --- Germanyah --- Gjermani --- Grossdeutsches Reich --- Jirmānīya --- KhBNGU --- Kholboony Bu̇gd Naĭramdakh German Uls --- Nimechchyna --- Repoblika Federalin'i Alemana --- República de Alemania --- República Federal de Alemania --- Republika Federal Alemmana --- Vācijā --- Veĭmarskai︠a︡ Respublika --- Weimar Republic --- Weimarer Republik --- Germany (East) --- Germany (West) --- Europe --- Film theory & criticism --- Film: styles & genres --- Death and cinema; Mondo; experimental cinema; death and photography; grindhouse; Walter Benjamin; genre cinema; crossing borders; transgression; Siegfried Kracauer; Georges Bataille; dying in film; snuff; fairground cinema; exploitation cinema; staging death; film history; death scenes; death in film