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Zusatztext A major contribution to the "unthinking" of the axioms of westocentric globalization, this concept-rich volume opens up new "lines of flight" in terms of radical cinema and analysis. In an approach at once worldly, transnational, global, and even planetary, the book offers a remarkable synthesis of political philosophy/theory and film exegesis. Invoking a remarkably wide range of filmic and theoretical references, the book catalyzes a conversation between disciplines, regions, and media. The book offers a welcome tonic in a dystopian age of "post-truth."Robert Stam, New York University, co-author of Keywords in Subversive Film/Media Aesthetics (2015) It is most refreshing and encouraging reading a book, sensed and written in Glasgow, that starts from some place else (in this case Enrique Dussel and Latin America) and give its due recognition to Western Europe (in this case Gilles Deleuze). David Martin-Jones has made a signal contribution to the current processes radically shifting from Western universal to pluriversal world histories, celebrating the splendors of global memories and triumphantly denying the Western colonial denial of contemporaneity. Walter D. Mignolo, Duke University, co-author of On Decoloniality: Concepts, Analytics, Praxis (2018)The wonderfully ambitious and beautifully crafted Cinema Against Doublethink brings us a view from the global south and world memory through the prism of cinema. The notion of worlds of cinema take us not to the rewriting of history but to a retrieval of lost transnational histories that resists inequality in colonial, postcolonial, and neocolonial contexts. It proposes an encounter with lost pasts through our ethical engagement that sets in motion a new awareness of the world we live in.Sandra Ponzanesi, Utrecht University, co-editor of Postcolonial Transitions in Europe (2016) Through the various phases of colonial modernity, whether originally as formal Euro-rule or as contemporary transnational neo-liberal capitalist globalization, it has consistently sought to erase rival temporalities, alternative mappings of past and present that might presage more egalitarian futures. In a dazzling synthesis of film and critical theory, David Martin-Jones uses Gilles Deleuze’s time-image in inspired conjunction with Latin American decolonial thought and radical social contract theory to demonstrate how recent global cinema challenges this oppressive chronopolitics, revealing—against a seemingly ineluctable and all-devouring Orwellian now—different emancipatory times and possibilities. Charles W. Mills, CUNY, author of Black Rights/White Wrongs (2017) Cinema Against Doublethink 'expertly and lucidly weaves together ideas and concepts from various disciplines ... the book’s content is culturally and politically relevant, a factor that is amplified ... as Western societies are forced to reckon with their colonial past in the wake of the killing of George Floyd. For instance, Chapter 4 deals with films set against the backdrop of the North Atlantic trade circuit and how Charles W. Mill’s idea of the "racial contract" that underpinned European colonialism during that time continues to this day in Western society. ... [T]he abiding message of Cinema Against Doublethink is more relevant than ever: "to decolonise worldviews such that a hesitant ethics can emerge – one more suited to the Anthropocene" (214). A world of cinemas might not be able to save us from fascism, racial injustice or environmental apocalypse, but, as Martin-Jones notes, it "can readily contribute to changing perceptions" and "a way to consider who we are in relation to each other" ' Film-PhilosophyThe film discussions – a real highlight of the book – offer convincing instantiations of Martin-Jones’s Dusselian-Deleuzian cinematic ethics. ... Uncle Boonmee and Nostalgia for the Light, for example, are conceived as offering time-images of a planetary history that intertwines human and non-human ...
