Spectatorship and Film Theory The Wayward Spectator
This book interrogates the relation between film spectatorship and film theory in order to criticise some of the disciplinary and authoritarian assumptions of 1970s apparatus theory, without dismissing its core political concerns. Theory, in this perspect
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SPECTATOR SH I P and FILM THEORY The Wayward Spectator
Spectatorship and Film Theory
Carlo Comanducci
Spectatorship and Film Theory The Wayward Spectator
Carlo Comanducci Vistula University Warsaw, Poland
ISBN 978-3-319-96742-4 ISBN 978-3-319-96743-1 (eBook) https://doi.org/10.1007/978-3-319-96743-1 Library of Congress Control Number: 2018949319 © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover image: Shahal F Rahman/EyeEm/Getty Images Cover design: Fatima Jamadar This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Acknowledgements
A work is made of many people, what may be good in what I have written goes to them. In particular, I would like to thank Saverio Zumbo for his amiability and example. Michele Aaron for everything that came from her teaching. Jan Campbell for her enthusiasm, support and thoughtful supervision. Everyone at the Café Royale Custine for accepting me as part of the furniture. Flora Cruces for being there when I was no longer there. Marina Pensieri, Gian Siano and Antonello Mura for all they taught me about music: they saved my life a thousand times, and counting. Deidre Matthee for her poems: they always came at the right moment to remind me of the pleasure of writing. My father for all the sound advice I never followed. Giacomo Conti for his friendship and twisted sense of humour. Valentina Ghio for suggesting that I read all of Pontalis and for insisting that there are more important things in life than film theory. To Nic, in memory.
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Contents
1 Introduction: Film Theory, a Divided Passion? 1 2 The Heteronomy of Subjectivity and the Spectator’s Emancipa
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