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Michel Foucault's work on film, although not extensive, compellingly illustrates the power of bringing his unique vision to bear on the subject and offers valuable insights into other aspects of his thought. Foucault at the Movies brings together all of Foucault's commentary on film, some of it available for the first time in English, along with important contemporary analysis and further extensions of this work.
Sommario
Translator¿s Preface, by Clare O¿Farrell
Introduction: Michel Foucault¿s Cut, by Patrice Maniglier and Dork Zabunyan
Part 1. Foucault and Film: A Historical and Philosophical Encounter1. What Film Is Able to Do: Foucault and Cinematic Knowledge, by Dork Zabunyan
2. Versions of the Present: Foucault¿s Metaphysics of the Event Illuminated by Cinema, by Patrice Maniglier
Part 2. Michel Foucault on Film3. Film, History, and Popular Memory
4. Marguerite Duras: Memory Without Remembering
5. Paul¿s Story: The Story of Jonah
6. The Nondisciplinary Camera Versus Sade
7. The Asylum and the Carnival
8. Crime and Discourse
9. The Return of Pierre Rivière
10. The Dull Regime of Tolerance
11. The Four Horsemen of the Apocalypse
12. Werner Schroeter and Michel Foucault in Conversation
Appendix: Foucault at the Movies¿a Program of Films
Notes
Bibliography
Index
Info autore
Michel Foucault, a French historian, philosopher, and social theorist, was one of the most important figures in twentieth-century thought. His work has had enormous influence throughout the humanities and social sciences.
Patrice Maniglier is senior lecturer in the department of philosophy at the University of Paris¿Nanterre.
Dork Zabunyan is professor of film studies at the University of Paris¿8.
Clare O¿Farrell is senior lecturer in the Faculty of Education at the Queensland University of Technology. Her books include
Foucault: Historian or Philosopher? (1989) and
Michel Foucault (2005).
Riassunto
Foucault at the Movies brings together all of Foucault’s commentary on film, some of it available for the first time in English, along with important contemporary analysis and further extensions of this work. It offers detailed, up-to-date commentary, inviting us to go to the movies with Foucault.
Testo aggiuntivo
Michel Foucault’s writings have led many of us to think differently. Do his observations on film introduce us to fresh ways of seeing? If philosophers have primarily studied discourses of truth, perhaps they need to give equal consideration to the overpowering fabrication of regimes of fiction, especially those of our cinematic culture. Is Fascism comprehensible apart from the images of Leni Riefenstahl’s Triumph of the Will? Foucault at the Movies is a stimulating engagement with a frequently overlooked contribution from the French thinker.
