Katalin Makkai – författare

Released in 1958, Vertigo is widely regarded as Alfred Hitchcock’s masterpiece and one of the greatest films of all time. This is the first book devoted to exploring the philosophical aspects of Vertigo. Following an introduction by the editor that places the film in context, each chapter reflects upon Hitchcock’s film from a philosophical perspective. Topics discussed include: memory, loss, memorialisation, and creativitymimetic or representational art and art as magicthe nature of romantic lovegender, sexual objectification, and identitylooking, "the gaze", and voyeurismfilm and psychoanalysisfantasy, illusion, and realitythe phenomenology of colour.Including annotated further reading at the end of each chapter, this collection is essential reading for anyone interested in Vertigo, and an ideal resource for students of film and philosophy.

Released in 1958, Vertigo is widely regarded as Alfred Hitchcock’s masterpiece and one of the greatest films of all time. This is the first book devoted to exploring the philosophical aspects of Vertigo. Following an introduction by the editor that places the film in context, each chapter reflects upon Hitchcock’s film from a philosophical perspective. Topics discussed include: memory, loss, memorialisation, and creativitymimetic or representational art and art as magicthe nature of romantic lovegender, sexual objectification, and identitylooking, "the gaze", and voyeurismfilm and psychoanalysisfantasy, illusion, and realitythe phenomenology of colour.Including annotated further reading at the end of each chapter, this collection is essential reading for anyone interested in Vertigo, and an ideal resource for students of film and philosophy.

Immanuel Kant's Critique of Judgment is widely recognized as a founding document of modern aesthetics, but its legacy has fallen into disrepute. In this book Katalin Makkai calls for the rediscovery of Kant's aesthetics, showing that its centerpiece, his investigation of the judgment of taste, paints a compelling portrait of our relationships with works of art that we love. At its heart is a scene of aesthetic encounter in which one feels oneself to be 'animated' - brought to life - by an object, finding there to be something in one's experience of it, beyond what there is to know about it, that one wants to explore and articulate. Tracing Kant's insight that to judge is to reveal one's sense of what bears judging, and hence of what matters, Makkai situates Kant's aesthetics within his larger study, begun in the first Critique, of judgment's fundamental role in the life of the mind.

Immanuel Kant''s Critique of Judgment is widely recognized as a founding document of modern aesthetics, but its legacy has fallen into disrepute. In this book Katalin Makkai calls for the rediscovery of Kant''s aesthetics, showing that its centerpiece, his investigation of the judgment of taste, paints a compelling portrait of our relationships with works of art that we love. At its heart is a scene of aesthetic encounter in which one feels oneself to be ''animated'' - brought to life - by an object, finding there to be something in one''s experience of it, beyond what there is to know about it, that one wants to explore and articulate. Tracing Kant''s insight that to judge is to reveal one''s sense of what bears judging, and hence of what matters, Makkai situates Kant''s aesthetics within his larger study, begun in the first Critique, of judgment''s fundamental role in the life of the mind.

Immanuel Kant's Critique of Judgment is widely recognized as a founding document of modern aesthetics, but its legacy has fallen into disrepute. In this book Katalin Makkai calls for the rediscovery of Kant's aesthetics, showing that its centerpiece, his investigation of the judgment of taste, paints a compelling portrait of our relationships with works of art that we love. At its heart is a scene of aesthetic encounter in which one feels oneself to be 'animated' - brought to life - by an object, finding there to be something in one's experience of it, beyond what there is to know about it, that one wants to explore and articulate. Tracing Kant's insight that to judge is to reveal one's sense of what bears judging, and hence of what matters, Makkai situates Kant's aesthetics within his larger study, begun in the first Critique, of judgment's fundamental role in the life of the mind.

Released in 1958, Vertigo is widely regarded as Alfred Hitchcock’s masterpiece and one of the greatest films of all time. This is the first book devoted to exploring the philosophical aspects of Vertigo. Following an introduction by the editor that places the film in context, each chapter reflects upon Hitchcock’s film from a philosophical perspective. Topics discussed include:

memory, loss, memorialisation, and creativity mimetic or representational art and art as magic the nature of romantic love gender, sexual objectification, and identity looking, "the gaze", and voyeurism film and psychoanalysis fantasy, illusion, and reality the phenomenology of colour.

Including annotated further reading at the end of each chapter, this collection is essential reading for anyone interested in Vertigo, and an ideal resource for students of film and philosophy.