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Angelos Koutsourakis - Kafkaesque Cinema, Häftad

Häftad, Engelska, 2026

Kafkaesque Cinema

Av Angelos Koutsourakis

325 kr

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Beskrivning
For all its familiarity as a widely used term, "Kafkaesque cinema" remains an often-baffling concept that is poorly understood by film scholars. Taking a cue from Jorge Luis Borges' point that Kafka has modified our conception of past and future artists, and Andre Bazin's suggestion that literary concepts and styles can exceed authors and "novels from which they emanate", this monograph proposes a comprehensive examination of Kafkaesque Cinema in order to understand it as part of a transnational cinematic tradition rooted in Kafka's critique of modernity, which, however, extends beyond the Bohemian author's work and his historical experiences. Drawing on a range of disciplines in the Humanities including film, literary, and theatre studies, critical theory, and history, Kafkaesque Cinema will be the first full-length study of the subject and will be a useful resource for scholars and students interested in film theory, World Cinema, World Literature, and politics and representation.
Produktinformation
  • Utgivningsdatum: 2026-01-30
  • Mått: 156 x 234 x 23 mm
  • Vikt: 488 g
  • Format: Häftad
  • Språk: Engelska
  • Antal sidor: 320
  • Förlag: Edinburgh University Press
  • ISBN: 9781474498975
  • Utmärkelser: Winner of Best Book in Film Studies 2024 2025
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Mer om författaren

Angelos Koutsourakis is Professor in Film and Cultural Studies at the Centre for World Cinemas and Digital Cultures, University of Leeds. He is the author of Kafkaesque Cinema (2024), Rethinking Brechtian Film Theory and Cinema (2018), Politics as Form in Lars von Trier (2013) and the co-editor of Cinema of Crisis: Film and Contemporary Europe (2020), and The Cinema of Theo Angelopoulos (2015).

Recensioner i media

In times when references to the Kafkaesque have become inflationary, Angelos Koutsourakis provides a much-needed re-examination of this term. The scope of his study, which covers global cinema from the 1920s to the present day, is hugely impressive, but crucially, this is not a straightforward reception history. By widening the definition of the Kafkaesque to include Kafka’s cinematic precursors as well as his successors, he deftly shows how this concept can be mobilised in a critical capacity, highlighting film’s pivotal role at the intersections of aesthetics, politics and history.

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