In this book, Michael J. Shapiro stages a series of pedagogical encounters between political theory, represented as a compositional challenge, and cinematic texts, emphasizing how to achieve an effective research paper/essay by heeding the compositional strategies of films. The text’s distinctiveness is its focus on the intermediation between two textual genres. It is aimed at providing both a conceptual introduction to the politics of aesthetics and a guide to writing strategies. In its illustrations of encounters between political theory and cinema, the book’s critical edge is its emphasis on how to intervene in cinematic texts with innovative conceptual frames in ways that challenge dominant understandings of life worlds. The Cinematic Political is designed as a teaching resource that introduces students to the relationship between film form and political thinking. With diverse illustrative investigations, the book instructs students on how to watch films with an eye toward writing a research paper in which a film (or set of films) constitutes the textual vehicle for political theorizing.

Since 1995 there has been a widespread return of commitment to French cinema taking it to a level unmatched since the heady days following 1968. But this new wave of political film is very different and urgently calls out for an analysis that will account for its development, its formal characteristics and its originality. This is what this book provides. It engages with leading directors such as Cantet, Tavernier, Dumont, Kassovitz, Zonca and Guédiguian, takes in a range of less well known but important figures and strays across the Belgian border to engage with the seminal work of the Dardenne brothers. It shows how the works discussed are helping to reinvent political cinema by finding stylistic and narrative strategies adequate to the contemporary context.

Almost fifty years ago, Jean-Louis Comolli and Jean Narboni published the manifesto “Cinema/Ideology/Criticism,” helping to set the agenda for a generation of film theory that used cinema as a means of critiquing capitalist ideology. In recent decades, film studies has moved away from politicized theory, abandoning the productive ways in which theory understands the relationship between cinema, politics, and art. In Cinema/Politics/Philosophy, Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political? In this concise and provocative book, Baumbach argues that we need a new philosophical approach that sees cinema as both a mode of thought and a form of politics. Through close readings of the writings on cinema by the contemporary continental philosophers Jacques Rancière, Alain Badiou, and Giorgio Agamben, he asks us to rethink both the legacy of ideology critique and Deleuzian film-philosophy. He explores how cinema can condition philosophy through its own means, challenging received ideas about what is seeable, sayable, and doable. Cinema/Politics/Philosophy offers fundamental new ways to think about cinema as thought, art, and politics.

Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. Kappelhoff applies the Deleuzean practice of "thinking in images" to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience.

Cover -- Half Title -- Title -- Copyright -- Contents -- Introduction: The Place of The Hour of the Furnaces in World Cinema (and in the Political World) -- Chapter 1: To Invent Our Revolution: An Aesthetic-Political Analysis of The Hour of the Furnaces -- Chapter 2: Fanon and The Hour of the Furnaces -- Chapter 3: A Look from Literature on Fernando Solanas and Octavio Getino's The Hour of the Furnaces -- Chapter 4: Popular Music and Political Militancy in The Hour of the Furnaces -- Chapter 5: The Hour of the Furnaces' Sexualized History -- Chapter 6: The Hour of the Furnaces, May 68, and the Pesaro International Film Festival -- Chapter 7: Tracing the Winding Road of The Hour of the Furnaces in the First World -- Chapter 8: Trails of Ink: An Approximation to the Historiography on The Hour of the Furnaces -- Chapter 9: The Dialogue between The Hour of the Furnaces and the Tradition of Argentine Documentary -- Chapter 10: Solanas' Recent Documentaries -- Chapter 11: Experimenting with TV: The Hour of the Furnaces at the Crossroads of Cinematic Experimentalism and Video Art -- Chapter 12: The Hour of the Furnaces as an Essay Film -- Afterthoughts on The Hour of the Furnaces -- Contributors -- Back Cover.

In Cinematic Political Thought, Michael J. Shapiro investigates aspects of contemporary politics and articulates a critical philosophical perspective with politically disposed treatments of contemporary cinema. Reading such films as Hoop Dreams, Lone Star, Father of the Bride II and To Live and Die in LA through the lens of Deleuze, Derrida, Foucault and Lyotard, Shapiro demonstrates what it can mean to think the political both in terms of cinema studies and in wider aesthetic and social contexts. Cinematic Political Thought is a polemical work, aimed at encouraging critical, ethical and political thinking. Its breadth of theoretical scope and empirical reference, and the innovative style of presentation will make it vital reading for anyone with an interest in the conjunction of culture and politics.

The Politics of Hollywood Cinema radically transforms our understanding of cinema's potential to be politically engaging and challenging. Examining several films from Hollywood's classical era, including Marked Woman, Mr Smith Goes to Washington, Born Yesterday, On the Waterfront and It Should Happen to You, alongside contemporary theories of democracy advanced by Ernesto Laclau, Chantal Mouffe, Claude Lefort, Étienne Balibar and Jacques Rancière, Richard Rushton argues that popular films can offer complex subtle, relevant and controversial approaches to democracy and politics.