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Full Description
Drive in Cinema offers Žižek-influenced studies of films made by some of the most engaging and influential filmmakers of our time, from avant-garde directors Jean-Luc Godard, Werner Herzog, Alexander Kluge, Pier Paolo Pasolini and Vera Chytilová, to independent filmmakers William Klein, Oliver Ressler, Hal Hartley, Olivier Assayas, Vincent Gallo, Jim Jarmusch and Harmony Korine. These essays in critical cultural theory present interdisciplinary perspectives on the relations between art, film and politics. How does filmic symbolization mediate intersubjective social exchange? What are the possibilities for avant-gardism today and how does this correspond to what we know about cultural production after capitalism's real subsumption of labour? How have various filmmakers communicated radical ideas through film as a popular medium? Drive in Cinema pursues Lacanian ethics to avenues beyond the academic obsession with cultural representation and cinematic technique. It will be of interest to anyone who is concerned with film's potential as an emancipatory force.
Contents
Foreword: Revolution at the Drive-in by Bradley Tuck
Introduction: 1 + 1 + a
Chapter 1: Sad Bunny: Vincent Gallo and the Melancholia of Gender
Chapter 2: Drive in Cinema: The Dialectic of the Subject in Daisies and Who Wants to Kill Jessie?
Chapter 3: The Ghost Is a Shell
Chapter 4: Ecstatic Struggle in the World System: Werner Herzog's Encounters at the End of the World
Chapter 5: Alexander Kluge's News from Ideological Antiquity: Marx - Eisenstein - Das Kapital: A Conversation with Michael Blum and Barbara Clausen
Chapter 6: Everything You Always Wanted to Know About Obama (But Were Afraid to Ask Mr. Freedom)
Chapter 7: An Interview with Marc James Léger on Radical Politics, Cinema and the Future of the Avant Garde by Bradley Tuck
Chapter 8: Pasolini's Contribution to La Rabbia as an Instance of Fantasmatic Realism
Chapter 9: Godard's Film Socialisme: The Agency of Art in the Unconscious
Chapter 10: What Is to Be Done? with Spring Breakers
Chapter 11: Analytic Realism in Activist Film
Conclusion: Only Communists Left Alive
