
Film, Negation and Freedom
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Synthesising a variety of discursive fields and traditions - including Early German Romanticism, Frankfurt School critical theory and the aesthetic philosophy of Jacques Rancière - Film, Negation and Freedom outlines a radical new approach to film by re-examining the work of Arthur Penn and Lindsay Anderson. A distinction between Light and Dark Romanticism is introduced as a means of interpreting cinema's relationship with capitalism, as well as dualistic concepts such as stillness and motion, passivity and activity, pain and pleasure. Film, Negation and Freedom revitalises our understanding of modern audio-visual media, as well as the aesthetic, philosophical and political conditions of Romantic subjectivity, artistic practice and spectatorship.
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Content
Introduction
PART I
1. No Way Out: Romanticism in the Films of Arthur Penn and Lindsay Anderson
2. Romanticism After Auschwitz: The Tradition of Critical Philosophy
3. Empty Infinities: Freedom and the Doctrine of Action
PART II
4. The Artist's Calling: Mickey One (1965)
5. Enemies of Promise: O Lucky Man! (1973)
6. Dialectic of Enlightenment: The Missouri Breaks (1976)
7. The Tyranny of Spectacle: Britannia Hospital (1982)
Appendix
Bibliography
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