{"product_id":"the-cinematic-sublime-negative-pleasures-structuring-absences-9781789382396","title":"The Cinematic Sublime: Negative Pleasures,","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThis interdisciplinary volume is dedicated to exploring the idea of the cinematic sublime by bringing together the disciplines of film studies and aesthetics to examine cinema and cinematic experience. Explores the idea of ‘the sublime’ in cinema from a variety of perspectives; the essays range in focus from early cinema, through classical Hollywood, documentary, avant-garde and art cinema traditions, and on to contemporary digital cinema. The book aims to apply the discussion of the sublime in philosophy to cinema and to interrogate the ways in which cinema engages with this tradition.\u003c\/p\u003e  \u003cp\u003eOffers new and exciting insights into how cinema engages with traditional historical and aesthetic discourse. Original and wide-ranging, this clear and coherent volume is a useful resource for both post-graduate students and established scholars interested in the interrelations between film and philosophy. The range of material covered in the individual essays makes this a wide-ranging and very useful introduction to the topic.\u003c\/p\u003e  \u003cp\u003eA significant new contribution to the literature on Film-Philosophy. What sets this reader apart from the existing books on the subject is the wider scope. It embraces both philosophers and film scholars to consider films from throughout film history in light of theories of the sublime from throughout the history of Philosophy. In doing so it aims to demonstrate the diverse value of sublime approaches (versus a singular definition and philosophical perspective) to a wider range of films than has previously been considered. \u003c\/p\u003e  \u003cp\u003eAn original and stimulating collection of essays contributing new insights into the crossover between historical and aesthetic approaches to contemporary cinema and cinematic experience.\u003c\/p\u003e  \u003cp\u003eThe main readership will be academic markets including film studies and philosophy, and academics with an interest in the legacies of Burke and Kant on aesthetics. Useful for teaching aesthetics through cinematic illustration and application.\u003c\/p\u003e  \u003cp\u003eAppropriate to final year undergraduate and postgraduate students with an interest in ideas at the boundaries of contemporary film studies.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003e'Editor Nathan Carroll writes in his introduction that ‘the only common factor in all the theories of the sublime is the lack of agreement between them’ (p. 1). Applying the concept to cinema raises a further set of questions. [...] But the concept of the sublime can be fruitfully applied to cinema, as this anthology demonstrates.\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eWhile the ten authors are for the most part from film or media studies departments and the book is pitched very much at film scholars and philosophers, the variety of topics means that it can also be dipped into by anyone possessing a rudimentary grasp of critical terms.'\u003c\/em\u003e\u003c\/p\u003e -- Brendan Culleton, Historical Journal of Film, Radio and Television\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \u003c\/p\u003e  \u003cp\u003eAcknowledgments vii\u003c\/p\u003e  \u003cp\u003eForeword viii\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eJoan Hawkins \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eIntroduction 1\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eNathan Carroll \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003ePart I: Sublime Spectatorship 9\u003c\/p\u003e  \u003cp\u003e1. Sublime Spectatorship on Tour: The Early British Scenic and the Quest for the Perfect View 10\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eSamantha Wilson \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e2. Stars Up Close: Celebrity, Ephemerality, and the Banal Sublime 24\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eClaire Sisco King \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003ePart II: Staging Sublimity: “Presenting the Unpresentable” 39\u003c\/p\u003e  \u003cp\u003e3. Between Preservation and Disintegration in Decayed Cinema: The Uncanny and the Weird of the Sublime Archival Image in Hollis Frampton’s (\u003cem\u003enostalgia\u003c\/em\u003e) (1971) and Bill Morrison’s \u003cem\u003eDecasia \u003c\/em\u003e(2002) 40\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eKornelia Boczkowska \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e4. Negative Epiphanies and Sublime Emotion in Steven Spielberg’s \u003cem\u003eA.I. Artificial Intelligence \u003c\/em\u003e53\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eJames Kendrick \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003ePart III: Time, Memory, and History: Ruptures and Fragments 67\u003c\/p\u003e  \u003cp\u003e5. Claude Lanzmann’s \u003cem\u003eShoah \u003c\/em\u003eand the Historical Sublime 68\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eSteve Ostovich \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e6. Jerry Lewis’s Holocaust and the Limits of Invisibility 85\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eChris Dumas \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e \u003c\/p\u003e  \u003cp\u003ePart IV: The Limits of Control: Sublime Cinemascapes 97\u003c\/p\u003e  \u003cp\u003e7. A Short History of the Long Take: Digital Cinema and the “Infinite Cut” 98\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eNathan Carroll \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e8. Stalking the Sublime: Nature and Affect in Andrei Tarkovsky’s \u003cem\u003eStalker \u003c\/em\u003e124\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eRobert Lee Jones \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003ePart V: The Limits of Light: The Other(s) 141\u003c\/p\u003e  \u003cp\u003e9. Sublime Abject or Abject Sublime: Sublimation and Jouissance in Andrezj Żuławski’s \u003cem\u003eSzamanka \u003c\/em\u003e142\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eCarolin Kirchner \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e10. The Fear of Beauty and the Beauty of Fear: The Sublime in Jonathan Glazer’s \u003cem\u003eUnder the Skin \u003c\/em\u003e155\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eKwasu David Tembo \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eBibliography 174\u003c\/p\u003e  \u003cp\u003eNotes on the Contributors 189\u003c\/p\u003e  \u003cp\u003eIndex 193\u003c\/p\u003e","brand":"Intellect Books","offers":[{"title":"Default Title","offer_id":51042574172503,"sku":"9781789382396","price":79.16,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781789382396.jpg?v=1750954701","url":"https:\/\/bookcurl.com\/products\/the-cinematic-sublime-negative-pleasures-structuring-absences-9781789382396","provider":"Book Curl","version":"1.0","type":"link"}