By Alex Ling
Alex Ling employs the philosophy of Alain Badiou to respond to the query significant to all severe movie scholarship: 'can cinema be thought?' Treating this query on 3 degrees, the writer first asks if we will be able to quite imagine what cinema is, at an ontological point. Secondly, he investigates no matter if cinema can really imagine for itself; that's, even if it truly is actually 'artistic'. ultimately, he explores in what methods we will be able to reconsider the implications of the truth that cinema thinks. In answering those questions, the writer makes use of famous movies ranging to demonstrate Badiou's philosophy and to contemplate the ways that his paintings could be prolonged, critiqued and reframed with appreciate to the medium of cinema.
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Extra resources for Badiou and Cinema
On the positive side, however, I will try to get us to a stage where we can be reasonably clear why people have gone in for that idea, and what living with or without the title might mean today. While most of the discussion is negative I will also be providing what I will want to call a philosophical (and not merely, say, historical or sociological) account of the emergence of the idea of a ‘wide gulf’ between the kind of philosophical analysis pursued in the English-speaking world and its Continental Other.
Nietzsche, Friedrich Wilhelm (1844–1900), German philosopher, and one of the most provocative thinkers of the modern period. His influence has been all pervasive, most obviously in his pronouncement of the death of God; his ‘aristocratic’ critique of traditional and specifically Christian morality of ‘good and evil’ as a ‘slave’ morality; his diagnosis of modernity in terms of its ‘nihilism’; and his call for ‘a transvaluation of all values’. A prolific writer, he wrote several major works, among them The Birth of Tragedy (1872; trans.
Making use of the distinction introduced in the last chapter, one could say that you are an analytic philosopher today if your work responds (primarily) to ideas and methods emerging from the primary texts of analytic philosophy, and you are a Continental philosopher today if your work responds (primarily) to ideas and methods emerging from the primary texts of Continental philosophy. However, this symmetry hides a profound dissymmetry. As I see it, and as I hope to show, the fundamental and irreducible feature of the contemporary philosophical culture is the production within the movement of analytic philosophy of a more-or-less stable collection of texts regarded as or encoded as the ‘primary works of Continental philosophy’.