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About this book
Lo sguardo cinematografico costituisce una potente provocazione per il pensiero filosofico, arrivando persino a farsi strumento di misura del suo percorrere la strada che, nell'immagine, sta fra l'energetica delle forze che l'attraversano e le forme in cui essa di volta in volta giunge a risiedere e trova la sua vita. Allo sguardo cinematografico e ad alcune sue condizioni, fra indagine antropologica e questione del vivente, è dedicato questo volume.
Da Ejzenštejn a Godard, da Deleuze a Rancière, da Dreyer a Straub, è il progetto antropologico della modernità a costituire il campo problematico su cui ci si interroga in forma orginale il presente saggio.
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Yes, you can access Forma e Forza by Salvatore Tedesco in PDF and/or ePUB format, as well as other popular books in Arte & Fotografia. We have over one million books available in our catalogue for you to explore.
Information
INDICE DEI NOMI DEI FILM
Adorno, Theodor Ludwig Wiesengrund,
Agricola, Rudolf,
Al di là dei sogni (What Dreams May Come, V. Ward, ),
Anderson, Harriet,
Anno scorso a Marienbad, L’ (L’année dernière à Marienbad, A. Resnais, ),
Aristarco, Guido,
Bach, Johann Sebastian,
Bacon, Francis,
Balázs, Béla,
Barkhoff, Jürgen,
Batteux, Charles,
Baumgarten, Alexander Gottlieb,
Bazin, André,
Beethoven, Ludwig Van,
Belting, Hans,
Benjamin, Walter,
Bergala, Alain,
Bergman, Ernst Ingmar,
Bergman, Ingrid,
Bernardi, Auro,
Bessy, Maurice,
Birke, Lynda,
Blanchot, Maurice,
Böhme, Gernot,
Bolk, Louis,
Boniolo, Giovanni,
Brandon, Robert .,
Bresson, Robert,
Brigandt, Ingo,
Bubner, Rüdiger,
Bursi, Giulio,
Buscalioni, Angela Delgado,
Buytendijk, Frederik Jacobus Johannes,
Cacciari, Massimo,
Callebaut, Werner,
Calvino, Italo,
Camus, Marcel,
Cappabianca, Alessandro,
Cassirer, Ernst,
Celan, Paul,
Cervini, Alessia,
Cézanne, Paul,
Cézanne (Id., J.-M. Straub D. Huillet, ),
Cioni, Alberto,
Cocteau, Jean,
Colli, Giorgio,
Come in uno specchio (SÃ¥som i en spegel, I. Bergman, ),
Corazzata ...
Table of contents
- INTRODUZIONE
- I. IL TARDO STILE: GODARD E BEETHOVEN
- II. TEMPO, PERCEZIONE, ATTO BIOLOGICO
- III. RANCIÈRE E IL PROGETTO ANTROPOLOGICO MODERNO
- IV. STORIA NATURALE DELL’IMMAGINE
- V. IL SORRISO NASCOSTO DI STRAUB-HUILLET
- VI. ORDET E LA CONCEZIONE LUTERANA DELLA RETORICA DIVINA
- VII. IL DESIDERIO E LA GENESI DELL’IMMAGINE CINEMATOGRAFICA
- VIII. L’ORIGINE COME MATERIA COMUNE
- IX. A PROPOSITO DELLA LEGGE DI NATURA IN EJZEN TEJN
- X. L’ARTE DI ORFEO, L’ARTE DI EURIDICE
- INDICE DEI NOMI DEI FILM