By Fabio Vighi
It seeks to illustrate that cinema may also help serious idea repoliticize tradition and society and confirm the theoretical and political influence of cinematic wisdom. After discussing how the Frankfurt college observed cinema as an device of capitalism use to advertise the cultural and political regimentation of the hundreds, Vighi then proceeds to illustrate that serious concept can actually recommend a distinct verdict at the revolutionary power of cinema.
Each bankruptcy makes a speciality of a key severe idea idea that is defined and redefined via movie research to resolve the hidden presuppositions and such a lot radical results of severe thought.
A distinct contribution to the literature, this quantity within the severe conception and modern Society sequence provide an cutting edge studying of movie as a severe device, drawing at the most modern advancements in Lacanian theory.
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Additional resources for Critical Theory and Film: Rethinking Ideology Through Film Noir
34 Adorno himself would seem to encourage such an approach, for instance, when he claims that ‘dialectics does not give any instructions for the treatment of art, but inheres in it’ (Adorno 1999: 140). If my analysis of ﬁlm noir manages to bring to light speciﬁc structural dynamics that are ascribable to Adorno’s concept of negative dialectics, then we are admittedly entitled to argue that ﬁlm noir embodies what was neglected by Adorno and Critical Theory, namely a short circuit within ﬁlm qua object of mass culture.
Indd 30 3/30/2001 5:16:28 PM THE DIALECTIC’S NARROW MARGIN 31 Enlightenment, The Authoritarian Personality and Composing for the Films, he penned during his Californian exile): ‘every visit to the cinema leaves me, against all my vigilance, stupider and worse’ (Adorno 2005a: 25). What interests me about the unlikely couple ‘Adorno and ﬁlm’12 is something that has yet to be attempted, namely the exploration of the signiﬁcance that the theoretical foundations of Adorno’s dialectical thought might have for an approach to ﬁlm noir aimed at redeeming the critical impact of a commodity historically nestled at the heart of the burgeoning culture industry.
Indd 31 3/30/2001 5:16:29 PM 32 CRITICAL THEORY AND FILM Dialectic of Enlightenment,15 we should not forget that by 1940 he had already ‘conquered’ Hollywood by mastering Hollywood’s favourite genre, the Western, with such ﬁlms as The Return of Frank James and Western Union, both made in 1940 for the 20th Century Fox. 17 It is highly unlikely that Adorno had not seen these inﬂuential noirs (or ‘crime melodramas’, as they were known then), or had not had a chance to hear Lang discuss them – which makes his silence on these popular yet complex modernist works rather deafening.