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"No Reason to Be Seen": Cinema, Expl...

Sullivan, Gordon.

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"No Reason to Be Seen": Cinema, Exploitation, and the Political.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"No Reason to Be Seen": Cinema, Exploitation, and the Political./
作者:	Sullivan, Gordon.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:	185 p.
附註:	Source: Dissertation Abstracts International, Volume: 79-09(E), Section: A.
Contained By:	Dissertation Abstracts International79-09A(E).
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10831887
ISBN:	9780355887242

"No Reason to Be Seen": Cinema, Exploitation, and the Political.
Sullivan, Gordon.

"No Reason to Be Seen": Cinema, Exploitation, and the Political. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 185 p.

Source: Dissertation Abstracts International, Volume: 79-09(E), Section: A.

Thesis (Ph.D.)--University of Pittsburgh, 2017.

This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Ranciere. For Ranciere, the political is an "intervention into the visible and sayable", where members of a community who are otherwise uncounted come to be seen as part of the community through a "redistribution of the sensible". This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Ranciere means by the political.

ISBN: 9780355887242Subjects--Topical Terms:

2122736
Film studies.

"No Reason to Be Seen": Cinema, Exploitation, and the Political.
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520 $a This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Ranciere. For Ranciere, the political is an "intervention into the visible and sayable", where members of a community who are otherwise uncounted come to be seen as part of the community through a "redistribution of the sensible". This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Ranciere means by the political.
520 $a Chapter 1 treats the films of Lloyd Kaufman, co-founder of Troma Studios. The chapter offers a fuller account of Ranciere's conception of the political alongside a reading of the apparently-incoherent politics of Kaufman's films. Chapter 2 offers a necessary supplement to an account of Ranciere's conception of the political by thinking through the ways that community works in the films of Lars von Trier. Chapter 3 turns from the constitution of community to the moment of rupture that creates a space for dissensus. This notion of rupture helps us to understand the cinema of David Cronenberg, whose films are overtly and consistently concerned with rupture. Chapter 4 takes a slightly broader view, thinking through Quentin Tarantino's recent historical films with the aid of Ranciere's conception of the political. Rather than understanding Tarantino's engagement with politics as resting on his invocation of historical tragedy, this chapter begins with a reading of The Hateful Eight's "Lincoln letter" to argue that the fundamental gesture of the political is one of affirmation. The conclusion offers a brief glimpse at the ways in which temporality, cinema, and the political are intertwined.
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