مارکسیسم و فعالیت‌های سینمایی: نمایش جهان‌های بدیل

In __Theses on Feuerbach__, Marx writes, “The philosophers have only interpreted the world differently; the point is to change it.” This collection examines how filmmakers have tried to change the world by engaging in emancipatory politics through their work, and how audiences have received them. It presents a wide spectrum of case studies, covering both film and digital technology, with examples from throughout cinematic history and around the world, including Soviet Russia, Palestine, South America, and France. Discussions range from the classic Marxist cinema of Aleksandr Medvedkin, Chris Marker, and Jean-Luc Godard, to recent media such as __5 Broken Cameras__ (2010), the phenomena of video-blogging, and bicycle activism films. In Theses on Feuerbach, Marx writes "The philosophers have only interpreted the world differently; the point is to change it." This collection examines how filmmakers have tried to change the world by engaging in emancipatory politics in their work, and how audiences have received them. It presents a wide spectrum of case studies, covering both film and digital technology, with examples from throughout cinematic history and around the world, including Soviet Russia, Palestine, South America, and France. Discussions range from the classic Marxist cinema of Aleksandr Medvedkin, Chris Marker, and Jean-Luc Godard, to recent media such as 5 Broken Cameras (2010), the phenomena of video-blogging, and bicycle activism films. Contents: Introduction Ewa Mazierska and Lars Kristensen PART I: PAST ACTIVISM Chapter 1. Between socialist modernisation and cinematic modernism: the revolutionary politics of aesthetics of Medvedkins cinema-train. Gal Kirn Chapter 2. Politics and Aesthetics within Godards Cinema. Jeremy Spencer Chapter 3. Marker, Activism and Melancholy: Reflections on the Radical 60s in the later films of Chris Marker. Jon Kear Chapter 4. Marx Immemorial: workers and peasants in the cinema of Jean-Marie Straub and Danile Huillet. Manuel Ramos Martinez Chapter 5. In the Heat of the Factory: The Global Fires of The Hour of the Furnaces. Bruce Williams PART II: PRESENT ACTIVISM Chapter 6. Contemporary political cinema: the impossibility of passivity. William Brown Chapter 7. Cultural resistance through film: The case of Palestinian cinema. Haim Bresheeth Chapter 8. The Contemporary Landscape of Video-Activism in Britain. Steve Presence Chapter 9. Marxist Resistance at Bicycle Speed: Screening the Critical Mass Movement. Lars Kristensen Chapter 10. Tales of a video blogger. Michael Chanan Chapter 11. Recovering the Future: Marxism and Film Audiences. Martin Barker Notes on Contributors Index (http://www.berghahnbooks.com/title.php?rowtag=MazierskaMarxism) http://www.berghahnbooks.com/title.ph... Contents List of Figures Introduction Part I. Past Activism Chapter 1. Between Socialist Modernization and Cinematic Modernism: the Revolutionary Politics of Aesthetics of Medvedkin’s Cinema-Train Chapter 2. Politics and Aesthetics within Godard’s Cinema Chapter 3. Marker, Activism and Melancholy: Reflections on the Radical ’60s in the Later Films of Chris Marker Chapter 4. Marx Immemorial: Workers and Peasants in the Cinema of Jean-Marie Straub and Danièle Huillet Chapter 5. In the Heat of the Factory: the Global Fires of The Hour of the Furnaces Part II. Present Activism Chapter 6. Contemporary Political Cinema: the Impossibility of Passivity Chapter 7. Cultural Resistance through Film: the Case of Palestinian Cinema Chapter 8. The Contemporary Landscape of Video-Activism in Britain Chapter 9. Marxist Resistance at Bicycle Speed: Screening the Critical Mass Movement Chapter 10. Swallowing Time: On the Immaterial Labour of the Video Blogger Chapter 11. Recovering the Future: Marxism and Film Audiences Notes on Contributors Index In�Theses on Feuerbach, Marx writes, "The philosophers have only�interpreted�the world differently; the point is to change it." This collection examines how filmmakers have tried to change the world by engaging in emancipatory politics through their work, and how audiences have received them. It presents a wide spectrum of case studies, covering both film and digital technology, with examples from throughout cinematic history and around the world, including Soviet Russia, Palestine, South America, and France. Discussions range from the classic Marxist cinema of Aleksandr Medvedkin, Chris Marker, and Jean-Luc Godard, to recent media such as�5 Broken Cameras�(2010), the phenomena of video-blogging, and bicycle activism films. �