Siegfried Kracauer : neue Interpretationen : Akten des Internationalen, Interdisziplinären Kracauer-Symposions, Weingarten, 2.-4. März 1989, Akademie der Diözese Rottenburg-Stuttgart
Five Tapes, Four Halls, Two Dreams: Vicissitudes of Surveillant Narration in Michael Haneke'sCaché
Wiley-Blackwell eBooks, Mar 4, 2010
... Fig. 2.1 Opening credits. Caché (2005), dir. Michael Haneke, prod. Andrew Colton and Veit Hei... more ... Fig. 2.1 Opening credits. Caché (2005), dir. Michael Haneke, prod. Andrew Colton and Veit Heiduschka. Page 4. 78 THOMAS Y. LEVIN ... Fig. 2.2 Ripples in the image. Caché (2005), dir. Michael Haneke, prod. Andrew Colton and Veit Heiduschka. Page 5. ...
... cit.), Regine Prange has recently published what is effectively the first close reading of th... more ... cit.), Regine Prange has recently published what is effectively the first close reading of the film essay in the context of Panofsky's ... 17-51; compare also the translation by Meggy Busse-Steffens, "Stilarten und das Medium des Films," in Alphons Silbermann, ed. Mediensoziologie. ...
"What is German?" I am unable to answer this question immediately. First it is necessar... more "What is German?" I am unable to answer this question immediately. First it is necessary to reflect on the question itself since it is burdened by those smug definitions which assume as the specifically German not what actually is German but rather what one wishes it were. The ideal suffers at the expense of the idealization. The very form of the question already desecrates the irreparable experiences of the last decades. It presupposes an autonomous collective entity, 'German,' whose characteristics are then determined after the fact. The fabrica-
... sociology of the cinema. Kracauer's theory of film which practices sociological abst... more ... sociology of the cinema. Kracauer's theory of film which practices sociological abstention compels us to consider that which is left out in his book; otherwise antiformalism turns into formalism. Kracauer ironically plays with the ...
Nationalities of Language: Adorno's Fremdworter An Introduction to "On the Question: What Is German?
New German Critique, 1985
In 1965 the prescience of Nietzsche's observations was dramatically confirmed by a series of ... more In 1965 the prescience of Nietzsche's observations was dramatically confirmed by a series of radio lectures organized by the Hessische Rundfunk on the topic "What is German?" Adorno's contribution, broadcast on May 9th of that year with the name of the series as its title, follows Nietzsche's lead in its refusal of nationalist generalizations and its shift of emphasis to the very question itself. Indeed, when Adorno's essay is republished in 1969 in Stichworte, it is indicative that, besides the deletion of two phrases, the only significant change is an addition to the title which now reads "On the Question: What is German?" The ambiguity of this query allows Adorno to develop another quite literal line of response: what is German?, it's a language. But such a recasting of the question of nationality as a question of language and linguistic nationality generates new problems. In order to sayjust what is (the) German (language), one must be able to establish the identity, limits and character of a national idiom. To do this, Adorno argues, one must take a trip to another language, a voyage, as we shall see, of translation.
... 279-298). 4. Walter Muschg, "Das Dichterportrait in der Literaturgeschichte," in Em... more ... 279-298). 4. Walter Muschg, "Das Dichterportrait in der Literaturgeschichte," in Emil Ermatinger, ed., Philosophie der Literaturwissenschaft, Berlin, Junker und Diinnhaupt, 1930, p. 311. Compare also Benjamin's citation of the same passage in his essay "Literaturgeschichte und ...
The Entwinement of Myth and Enlightenment: Re-Reading Dialectic of Enlightenment
New German Critique, 1982
The dark writers of the bourgeoisie - such as Machiavelli, Hobbes and Mandeville - had always app... more The dark writers of the bourgeoisie - such as Machiavelli, Hobbes and Mandeville - had always appealed to Horkheimer, who was him- self influenced by Schopenhauer. Clearly, from their works there still remained ties to Marx's social theory. These connections were broken by ...
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
The English-Language Reception of Kracauer's Work: A Bibliography
New German Critique, 1991
... B: 84 . "Political History of the German Film." The New Lea... more ... B: 84 . "Political History of the German Film." The New Leader Literary Section 28 June 1947: 11. Letter in response by Robert Warshow, "The German Film." The New Leader 9 Aug. 1947: 14. ... 1961): 786. Calas, Nicolas. "Multiple Exposures." Art News 60.6 (Oct. ...
Phenomenology of Film: On Siegfried Kracauer's Writings of the 1920s
New German Critique, 1987
... Anyone who thinks that Theory of Film contains everything that Siegfried Kracauer had to say ... more ... Anyone who thinks that Theory of Film contains everything that Siegfried Kracauer had to say about film is quite mistaken. ... In Theory of Film, Kracauer bases his argument for the priority of the realistic on the "fun-damental aesthetic principle" of the medium. ...
... The penchant for distraction demands and finds an answer in the display of pure externality; ... more ... The penchant for distraction demands and finds an answer in the display of pure externality; hence the irrefuta-ble tendency, particularly in Berlin ... Truth is threatened only by the naive affirmation of cultural values that have become unreal and by the careless misuse of concepts ...
Dismantling the Spectacle: The cinema of Guy Debord
The artist and theoretician Guy Debord formulated a radical critique of society in the 1960s with... more The artist and theoretician Guy Debord formulated a radical critique of society in the 1960s with his theses about the »society of spectacle«. The term spectacle is used to criticize socio-economic conditions (e.g. alienation) as conveyed by images from the mass media (cinema and television). Debord is a leading member of the Situationist Internationale (SI), which adopted an ambivalent attitude towards the cinema in the first issue (1958) of its magazine Internationale situationiste (IS). On the one hand, it insisted that the existing cinema should be destroyed. But then strategies were developed, e.g. use for another purpose (detournement), which was deployed to reinterpret entire films, by adding a new soundtrack, for example.
Walter Benjamin's influence on the theory and practice of art history in the English-speaking... more Walter Benjamin's influence on the theory and practice of art history in the English-speaking world has grown substantially in recent years, largely as a result of the increasing availability of his work in translation. But because the art-historical reception of Benjamin has focused primarily on the essays dealing with photography and film, it has largely failed to recognize that Benjamin's texts on the theory of mimesis, on the epistemology of form and perception, and, above all, on the philosophy of history are also of tremendous significance for the history of art.' Indeed, as evidenced by many of Benjamin's works, ranging from the (unfortunately still untranslated) Begrif der Kunstkritik in der deutschen Romantik (The Concept of Art Criticism in German Romanticism) to his posthumously published magnum opus, the Passagen-Werk (Arcades Project),2 the practice of a certain kind of art historyunderstood in a broad sense as the critical, sympto-
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