Theodor Adorno and Film Theory [electronic resource] : The Fingerprint of Spirit /
Wall, B.author.
What is the fundamental nature of the filmic object: is it a commodity or is it, can it be, art? What would that mean - can it still matter? This book introduces the thought of Theodor Adorno into film studies to repair the schism that characterizes the field, as historical and cultural modes of analysis displace theoretical and philosophical ones.
Description based upon print version of record.
Cover; Theodor Adorno and Film Theory: The Fingerprint of Spirit; Contents; Figures; Acknowledgments; Introduction: The Fingerprint of Spirit; Chapter 1: The Subject/Object of Cinema: THE MALTESE FALCON (1941); Chapter 2: "A Deeper Breath": From Body to Spirit in KISS ME DEADLY (1955); Chapter 3: Negative Dioretix: REPO MAN (1984); Chapter 4: "Jackie Treehorn Treats Objects Like Women!:" Two Types of Fetishism in THE BIG LEBOWSKI (1998); Notes; References; Index
Includes bibliographical references and index.
What is the fundamental nature of the filmic object: is it a commodity or is it, can it be, art? What would that mean - can it still matter? This book introduces the thought of Theodor Adorno into film studies to repair the schism that characterizes the field, as historical and cultural modes of analysis displace theoretical and philosophical ones.
Adorno, Theodor W., 1903-1969
Cultural studies.
Motion pictures and television.
Film genres.
Motion pictures—History.
Critical theory.
Communication.
Cultural Studies.
Screen Studies.
Genre.
Film History.
Critical Theory.
Media Studies.