{"product_id":"existentialism-and-contemporary-cinema-9780857453204","title":"Existentialism and Contemporary Cinema","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eAt the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of interpreting the world today. Film, by reflecting philosophical concerns in the actions and choices of characters, continues and extends a tradition in which art exemplifies the understanding of existentialist philosophy. In a scholarly yet accessible style, the contributors exploit the rich interplay between Sartre's philosophy, plays and novels, and a number of contemporary films including \u003cem\u003eNo Country for Old Men\u003c\/em\u003e, \u003cem\u003eLost in Translation\u003c\/em\u003e and \u003cem\u003eThe Truman Show\u003c\/em\u003e, with film-makers including the Dardenne brothers, Michael Haneke, and Mike Leigh. This volume will be of interest to students who are coming to Sartre's work for the first time and to those who would like to read films within an existentialist perspective.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \t“\u003cem\u003eOne of the strengths of the volume overall is the breadth of approaches to and applications of Sartrean thinking, from the personal and political to the atheistic and artistic. There is also a refreshing selection of films under consideration…their edited collection is very welcome evidence in support of the proposition that thinking about Sartre and film together can produce stimulating and insightful film philosophy\u003c\/em\u003e.”\u003cb\u003e  ·  \u003c\/b\u003e\u003cstrong\u003eJournal of Contemporary European Studies\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t“\u003cem\u003eAs someone who teaches both French cinema and existentialism courses, I would expect students of existentialism in particular to be enthusiastic about discussing this intersection of familiar concepts and such recent films. The essays are thoughtful, informed and illuminating. While some of the interpretations of the philosophy, and at times of Sartre’s imaginative texts, may be unorthodox, students and scholars will find much here with which to reflect and engage. Collectively, they certainly demonstrate the richness of an existentialist interrogation of meaning and purposefulness of action in the world, and the extent to which contemporary cinema continues to prove fertile material for philosophical enquiry\u003c\/em\u003e.”\u003cb\u003e  ·  \u003c\/b\u003e\u003cstrong\u003eH-France\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e\"All of the essays here are fine pieces in their own right, and the collection certainly succeeds in its aim of showing the relevance of Sartre for the study of contemporary cinema. It whets the appetite for a more systematic consideration of what a Sartrean approach to cinema might be\"\u003c\/em\u003e\u003cb\u003e  ·  \u003c\/b\u003e\u003cstrong\u003eModern \u0026amp; Contemporary France\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“[This volume] will provide a useful tool, in particular for students seeking to learn about Sartre and existentialism but also for students exploring the application of philosophy to the understanding of cinema.”\u003c\/em\u003e\u003cb\u003e  ·  \u003c\/b\u003e\u003cstrong\u003eDouglas Morrey\u003c\/strong\u003e, University of Warwick\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tAcknowledgements\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eIntroduction\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eJean-Pierre Boulé\u003c\/em\u003e and \u003cem\u003eEnda McCaffrey\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePART I: THE CALL TO FREEDOM\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 1. \u003c\/strong\u003ePeter Weir’s \u003cem\u003eThe Truman Show\u003c\/em\u003e and SartreanFreedom\u003cbr\u003e \t\u003cem\u003eChristopher Falzon\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 2. \u003c\/strong\u003eMichael Haneke and the Consequences of Radical Freedom\u003cbr\u003e \t\u003cem\u003eKevin L. Stoehr \u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 3. \u003c\/strong\u003eNaked, Bad Faith and Masculinity\u003cbr\u003e \t\u003cem\u003eMark Stanton\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 4. \u003c\/strong\u003ePursuits of Transcendence in \u003cem\u003eThe Man Who Wasn’t There\u003cbr\u003e \tTom Martin\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 5. \u003c\/strong\u003eLorna’s Silence: Sartre and the Dardenne Brothers\u003cbr\u003e \t\u003cem\u003eSarah Cooper\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePART II: FILMS OF SITUATION\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 6. \u003c\/strong\u003eBeing–\u003cem\u003eLost in Translation\u003c\/em\u003e\u003cbr\u003e \t\u003cem\u003eMichelle R. Darnell\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 7. \u003c\/strong\u003eIf I Should Wake Before I Die: Existentialism as a Political Call to Arms in \u003cem\u003eThe Crying Game\u003c\/em\u003e\u003cbr\u003e \t\u003cem\u003eTracey Nicholls\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 8\u003c\/strong\u003e. Crimes of Passion, Freedom and a Clash of Sartrean Moralities in the Coen Brothers’ \u003cem\u003eNo Country for Old Men\u003cbr\u003e \tEnda McCaffrey \u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 9\u003c\/strong\u003e. ‘An Act of Confidence in the Freedom of Men’: Jean-Paul Sartre and Ousmane Sembene\u003cbr\u003e \t\u003cem\u003ePatrick Williams\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 10. \u003c\/strong\u003eCédric Klapisch’s \u003cem\u003eThe Spanish Apartment\u003c\/em\u003e and \u003cem\u003eRussian Dolls in Nausea’s Mirror\u003cbr\u003e \tJean-Pierre Boulé\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 11. \u003c\/strong\u003eBaz Luhrmann’s \u003cem\u003eWilliam Shakespeare’s Romeo + Juliet\u003c\/em\u003e: The Nauseous Art of Adaptation\u003cbr\u003e \t\u003cem\u003eAlistair Rolls\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \tNotes on Contributors\u003cbr\u003e \tIndex\u003c\/p\u003e","brand":"Berghahn Books","offers":[{"title":"Default Title","offer_id":51038908481879,"sku":"9780857453204","price":89.1,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780857453204.jpg?v=1750941895","url":"https:\/\/bookcurl.com\/products\/existentialism-and-contemporary-cinema-9780857453204","provider":"Book Curl","version":"1.0","type":"link"}