Filmmaker’s Philosopher

Merab Mamardashvili and Russian Cinema

AvAlyssa DeBlasio

Inbunden, Engelska, 2019

1 644 kr

Beställningsvara. Skickas inom 3-6 vardagar. Fri frakt över 249 kr.

Fler format och utgåvor

Häftad

360 kr

Beskrivning

Known as the ‘Georgian Socrates’ of Soviet philosophy, Merab Mamardashvili was a defining personality of the late-Soviet intelligentsia. In the 1970s and 1980s, he taught required courses in philosophy at Russia’s two leading film schools, helping to educate a generation of internationally prolific directors. Exploring Mamardashvili’s extensive philosophical output, as well as a range of recent Russian films, Alyssa DeBlasio reveals the intellectual affinities amongst directors of the Mamardashvili generation – including Alexander Sokurov, Andrey Zvyagintsev and Alexei Balabanov. This multidisciplinary study offers an innovative way to think about film, philosophy and the philosophical potential of the moving image.

Produktinformation

Utgivningsdatum:2019-10-21
Mått:156 x 234 x 13 mm
Vikt:476 g
Format:Inbunden
Språk:Engelska
Antal sidor:216
Förlag:Edinburgh University Press
ISBN:9781474444484
Utmärkelser:Short-listed for American Association of Teachers of Slavic and East European Languages: Best Book in Cultural Studies 2020

Utforska kategorier

Filosofiska discipliner inom Filosofi och religion
Film inom Kultur

Mer om författaren

Alyssa DeBlasio is Associate Professor of Russian at Dickinson College, where she also contributes to the Film Studies and Philosophy programs.

Recensioner i media

The Filmmaker’s Philosopher is a highly effective text that handles complex, ever-elusive philosophical thinking with great confidence and clarity. It will undoubtedly be useful to a great variety of researchers, from Mamardashvili scholars to film-philosophers who are yet to discover his invigorating ideas.

Innehållsförteckning

AcknowledgementsNotes on TransliterationIntroduction: The Freest Man in the USSRChapter One: Alexander Sokurov’s Demoted (1980): Consciousness as CelebrationChapter Two: Ivan Dykhovichnyi’s The Black Monk (1988): Madness, Chekhov, and the Chimera of IdlenessChapter Three: Dmitry Mamuliya’s Another Sky (2010): The Language of ConsciousnessChapter Four: Alexei Balabanov’s The Castle (1994) and Me Too (2012): Kafka, the Absurd, and the Death of FormChapter Five: Alexander Zeldovich’s Target (2011): Tolstoy and Mamardashvili on the Infinite and the EarthlyChapter Six: Vadim Abdrashitov and Alexander Mindadze’s The Train Stopped (1982): Film as a Metaphor for ConsciousnessConclusion: Andrey Zvyagintsev’s Loveless (2017): The Philosophical Image and the Possibilities of FilmBibliographyAppendix