Search results for ""author brian price""

In A Theory of Regret Brian Price contends that regret is better understood as an important political emotion than as a form of weakness. Price shows how regret allows us to see that our convictions are more often the products of our perceptual habits than the authentic signs of moral courage that we more regularly take them to be. Regret teaches us to give up our expectations of what we think should or might occur in the future, and also the idea that what we think we should do will always be the right thing to do. Understood instead as a mode of thoughtfulness, regret helps us to clarify our will in relation to the decisions we make within institutional forms of existence. Considering regret in relation to emancipatory theories of thinking, Price shows how the unconditionally transformative nature of this emotion helps us become more sensitive to contingency and allows us, in turn, to recognize the steps we can take toward changing the institutions that shape our lives.

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The French auteur Robert Bresson, director of such classics as Diary of a Country Priest (1951), The Trial of Joan of Arc (1962), The Devil, Probably (1977), and L’Argent (1983), has long been thought of as a transcendental filmmaker preoccupied with questions of grace and predestination and little interested in the problems of the social world. This book is the first to view Bresson’s work in an altogether different context. Rather than a religious—or spiritual—filmmaker, Bresson is revealed as an artist steeped in radical, revolutionary politics. Situating Bresson in radical and aesthetic political contexts, from surrealism to situationism, Neither God nor Master shows how his early style was a model for social resistance. We then see how, after May 1968, his films were in fact a series of reflections on the failure of revolution in France—especially as “failure” is understood in relation to Bresson’s chosen literary precursors, Dostoyevsky and Tolstoy, and Russian revolutionary culture of the nineteenth century.Restoring Bresson to the radical political culture from which he emerged—and to which he remained faithful—Price offers a major revision of the reputation of one of the most celebrated figures in the history of French film. In doing so, he raises larger philosophical questions about the efficacy of revolutionary practices and questions about interpretation and metaphysical tendencies of film historical research that have, until now, gone largely untested.

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In A Theory of Regret Brian Price contends that regret is better understood as an important political emotion than as a form of weakness. Price shows how regret allows us to see that our convictions are more often the products of our perceptual habits than the authentic signs of moral courage that we more regularly take them to be. Regret teaches us to give up our expectations of what we think should or might occur in the future, and also the idea that what we think we should do will always be the right thing to do. Understood instead as a mode of thoughtfulness, regret helps us to clarify our will in relation to the decisions we make within institutional forms of existence. Considering regret in relation to emancipatory theories of thinking, Price shows how the unconditionally transformative nature of this emotion helps us become more sensitive to contingency and allows us, in turn, to recognize the steps we can take toward changing the institutions that shape our lives.

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The Lost Cinema of Mexico is the first volume to challenge the dismissal of Mexican filmmaking during the 1960s through 1980s, an era long considered a low-budget departure from the artistic quality and international acclaim of the nation's earlier Golden Age. This pivotal collection examines the critical implications of discovering, uncovering, and recovering forgotten or ignored films.This largely unexamined era of film reveals shifts in Mexican culture, economics, and societal norms as state-sponsored revolutionary nationalism faltered. During this time, movies were widely embraced by the public as a way to make sense of the rapidly changing realities and values connected to Mexico's modernization. These essays shine a light on many genres that thrived in these decades: rock churros, campy luchador movies, countercultural superocheros, Black melodramas, family films, and chili westerns.Redefining a time usually seen as a cinematic "crisis," this volume offers a new model of the film auteur shaped by productive tension between highbrow aesthetics, industry shortages, and national audiences. It also traces connections from these Mexican films to Latinx, Latin American, and Hollywood cinema at large.

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