Making a compelling argument for the continuing relevance of Brechtian film theory and cinema, this book offers new research and analysis of Brecht the film and media theorist, placing his scattered writings on the subject within the lively film theory debates that took place in Europe between the 1920sÃǾ2ƠÂ01960s.

Bespreking van het werk van de Deense filmregisseur (1956- ).

For all its familiarity as a widely used term, "e;Kafkaesque cinema"e; remains an often-baffling concept that is poorly understood by film scholars. Taking a cue from Jorge Luis Borges' point that Kafka has modified our conception of past and future artists, and Andre Bazin's suggestion that literary concepts and styles can exceed authors and "e;novels from which they emanate"e;, this monograph proposes a comprehensive examination of Kafkaesque Cinema in order to understand it as part of a transnational cinematic tradition rooted in Kafka's critique of modernity, which, however, extends beyond the Bohemian author's work and his historical experiences. Drawing on a range of disciplines in the Humanities including film, literary, and theatre studies, critical theory, and history, Kafkaesque Cinema will be the first full-length study of the subject and will be a useful resource for scholars and students interested in film theory, World Cinema, World Literature, and politics and representation.

Making a compelling argument for the continuing relevance of Brechtian film theory and cinema, this book offers new research and analysis of Brecht the film and media theorist, placing his scattered writings on the subject within the lively film theory debates that took place in Europe between the 1920sâe 1960s.

Art Cinema and Neoliberalism surveys cinematic responses to neoliberalism across four continents. One of the first in-depth studies of its kind, this book provides an imaginative reassessment of art cinema in the new millennium by showing how the exigencies of contemporary capitalism are exerting pressure on art cinema conventions. Through a careful examination of neoliberal thought and practice, the book explores the wide-ranging effects of neoliberalism on various sectors of society and on the evolution of film language. Alex Lykidis evaluates the relevance of art cinema style to explanations of the neoliberal order and uses a case study approach to analyze the films of acclaimed directors such as Asghar Farhadi, Yorgos Lanthimos, and Lucrecia Martel in relation to the social, political, and cultural characteristics of neoliberalism. By connecting the aesthetics of art cinema to current social antagonisms, Lykidis positions class as a central concern in our understanding of the polarized dynamics of late capitalism and the escalating provocations of today’s film auteurs.