Full Description
For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiou's account of cinema.
He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the movement of thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people - a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras.
Contents
Acknowledgments viii
Foreword ix
1 "Cinema Has Given Me So Much" 1
2 Cinematic Culture 21
3 Revisionist Cinema 34
4 Art and its Criticism 40
5 The Suicide of Grace: Le Diable probablement 48
6 A Man Who Never Gives In 50
7 Is the Orient an Object for the Western Conscience? 54
8 Reference Points for Cinema's Second Modernity 58
9 The Demy Affair 64
10 Switzerland: Cinema as Interpretation 67
11 Interrupted Notes on the French Comedy Film 72
12 Y a tellement de pays pour aller 77
13 Restoring Meaning to Death and Chance 82
14 A Private Industry, Cinema is also a Private Spectacle 86
15 The False Movements of Cinema 88
16 Can a Film Be Spoken About? 94
17 Notes on The Last Laugh 100
18 "Thinking the Emergence of the Event" 105
19 The Divine Comedy and The Convent 129
20 Surplus Seeing: Histoire(s) du cinéma 132
21 Considerations on the Current State of Cinema 138
22 The Cinematic Capture of the Sexes 151
23 An Unqualified Affirmation of Cinema's Enduring Power 162
24 Passion, Jean-Luc Godard 166
25 "Say Yes to Love, or Else be Lonely": Magnolia 176
26 Dialectics of the Fable: The Matrix 193
27 Cinema as Philosophical Experimentation 202
28 On Cinema as a Democratic Emblem 233
29 The End of a Beginning: Tout va bien 242
30 The Dimensions of Art: Forgiveness 252
31 The Perfection of the World, Improbable yet Possible 258
Notes 261
