Keywords in Subversive Film / Media Aesthetics

Robert Stam is University Professor at New York University. He has authored, co-authored and edited 17 books on film, cultural theory, national cinema, and postcolonial studies. His books include Francois Truffaut and Friends (2006), Literature through Film (2005), Film Theory: An Introduction (2000), and Tropical Multiculturalism (1997). He is co-author, with Ella Shohat, of Race in Translation (2012), Flagging Patriotism (2006), and Unthinking Eurocentrism (1994). Richard Porton is the author of Film and the Anarchist Imagination (1999) and editor of Dekalog 3: On Film Festivals (2009). One of the editors of Cineaste magazine, his work on film has appeared in Cinema Scope, Sight & Sound, and The Daily Beast. Leo Goldsmith is a PhD candidate in the Department of Cinema Studies at New York University. He is the Film Editor of The Brooklyn Rail.

• Acknowledgments viiIntroduction 11 An Aesthetics of the Commons 29The Aesthetic Commons 30From Columbus to Indigenous Media 32First Peoples, First Features 37The Storytelling Commons 42Revisionist Adaptation and the Literary Commons 47Cultural Indigenization 53The Archival Commons and the Ab]original Musical 582 The Upside]Down World of the Carnivalesque 68The People’s Second Life 68Sacred Parody 72Festive]Revolutionary Practices 76Unruly Women 79Polymorphous Celebrations 83Stand]up Comedy and Nuclear Catastrophe 86Contemporary Fools 90Pedagogic Humor and Provocation 94Tropes of Social Inversion 98Offside Cinema 1003 Political Modernism and Its Discontents 107The Two Avant]Gardes 108The Brechtian Legacy 110Beyond Brecht 120The Affective]Corporeal Turn 126The Rediscovery of Pleasure 133The Legacy of the V]Effect 136Political Cinema in the Age of the Posts 1394 The Transmogrification of the Negative 145An Aesthetic of Mistakes 146Third Cinema: From Hunger to Garbage 148Sublime Detritus 154The Recombinant Sublime 158Anthropophagic Modernism 161Situationist Détournement 165Culture Jamming 168Neo]Situationism and the Aesthetics of Failure 171Media Jujitsu 175The New Kino]Eye: Vision Machines 1785 Hybrid Variations on a Documentary Theme 185The Fiction–Documentary Continuum 185Murderous Reenactments 189The Mediatic Spectrum 193From Representation to Self]Presentation 199The Strategic Advantages of Hybridization 206Performative Films 211The Essay Film and Mockumentaries 2156 Hollywood Aristotelianism, the Fractured Chronotope, and the Musicalization of Cinema 225Hollywood Aristotelianism: the Orthodox Chronotope 225Alternatives to Aristotle: the Menippean Strain 233Pop Culture Anachronism and the Chronotope of the Road 239Baroque Modernism and the Marvelous American Real 244Trance]Modernism 246Contrapuntal Variations 251Transformative Becomings 258The Shape]Shiftings of Popular Culture 266Metaphysical Cine]Poetry 2687 Aesthetic/Political Innovation in the Digital Era 276Beyond Accelerationism: Digital Montage and Duration 282Tools of Engagement: Interactivity and Digital Détournement 285IRL Subversions: Tactical Media and Digital Materialism 288In Guise of a Conclusion 292Index 298