東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

"No Reason to Be Seen": Cinema, Expl...

Sullivan, Gordon.

Linked to FindBook

Google Book

Amazon

博客來

"No Reason to Be Seen": Cinema, Exploitation, and the Political.

Record Type:	Electronic resources : Monograph/item
Title/Author:	"No Reason to Be Seen": Cinema, Exploitation, and the Political./
Author:	Sullivan, Gordon.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	185 p.
Notes:	Source: Dissertation Abstracts International, Volume: 79-09(E), Section: A.
Contained By:	Dissertation Abstracts International79-09A(E).
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10831887
ISBN:	9780355887242

"No Reason to Be Seen": Cinema, Exploitation, and the Political.
Sullivan, Gordon.

"No Reason to Be Seen": Cinema, Exploitation, and the Political. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 185 p.

Source: Dissertation Abstracts International, Volume: 79-09(E), Section: A.

Thesis (Ph.D.)--University of Pittsburgh, 2017.

This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Ranciere. For Ranciere, the political is an "intervention into the visible and sayable", where members of a community who are otherwise uncounted come to be seen as part of the community through a "redistribution of the sensible". This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Ranciere means by the political.

ISBN: 9780355887242Subjects--Topical Terms:

2122736
Film studies.

"No Reason to Be Seen": Cinema, Exploitation, and the Political.
LDR:02892nmm a2200289 4500 001 2164989
005 20181127125343.5
008 190424s2017 ||||||||||||||||| ||eng d
020 $a 9780355887242
035 $a (MiAaPQ)AAI10831887
035 $a AAI10831887
040 $a MiAaPQ $c MiAaPQ
100 1 $a Sullivan, Gordon. $3 3353049
245 1 0 $a "No Reason to Be Seen": Cinema, Exploitation, and the Political.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2017
300 $a 185 p.
500 $a Source: Dissertation Abstracts International, Volume: 79-09(E), Section: A.
502 $a Thesis (Ph.D.)--University of Pittsburgh, 2017.
520 $a This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Ranciere. For Ranciere, the political is an "intervention into the visible and sayable", where members of a community who are otherwise uncounted come to be seen as part of the community through a "redistribution of the sensible". This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Ranciere means by the political.
520 $a Chapter 1 treats the films of Lloyd Kaufman, co-founder of Troma Studios. The chapter offers a fuller account of Ranciere's conception of the political alongside a reading of the apparently-incoherent politics of Kaufman's films. Chapter 2 offers a necessary supplement to an account of Ranciere's conception of the political by thinking through the ways that community works in the films of Lars von Trier. Chapter 3 turns from the constitution of community to the moment of rupture that creates a space for dissensus. This notion of rupture helps us to understand the cinema of David Cronenberg, whose films are overtly and consistently concerned with rupture. Chapter 4 takes a slightly broader view, thinking through Quentin Tarantino's recent historical films with the aid of Ranciere's conception of the political. Rather than understanding Tarantino's engagement with politics as resting on his invocation of historical tragedy, this chapter begins with a reading of The Hateful Eight's "Lincoln letter" to argue that the fundamental gesture of the political is one of affirmation. The conclusion offers a brief glimpse at the ways in which temporality, cinema, and the political are intertwined.
590 $a School code: 0178.
650 4 $a Film studies. $3 2122736
650 4 $a Philosophy. $3 516511
690 $a 0900
690 $a 0422
710 2 $a University of Pittsburgh. $b English. $3 3179044
773 0 $t Dissertation Abstracts International $g 79-09A(E).
790 $a 0178
791 $a Ph.D.
792 $a 2017
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10831887