Temenuga Trifonova – författare

European Film Theory explores the ‘Europeanness’ of European film theory, its philosophical origins, the ‘culture wars’ between ‘Continental’ and ‘Analytical’ film theory and philosophy, the major discursive and epistemological shifts in the history of Continental film theory, the relationship between Continental philosophy of art and philosophy of history and European film theory. Writing from a range of disciplines and perspectives, the contributors to this new volume in the AFI FILM READERS series offer fresh interpretations of European film theorists and illuminate the political potential of European film theory.

European Film Theory explores the ‘Europeanness’ of European film theory, its philosophical origins, the ‘culture wars’ between ‘Continental’ and ‘Analytical’ film theory and philosophy, the major discursive and epistemological shifts in the history of Continental film theory, the relationship between Continental philosophy of art and philosophy of history and European film theory. Writing from a range of disciplines and perspectives, the contributors to this new volume in the AFI FILM READERS series offer fresh interpretations of European film theorists and illuminate the political potential of European film theory.

In the course of its long and tumultuous history the sublime has alternated between spatial and temporal definitions, from its conceptualization in terms of the grandeur and infinity of Nature (spatial), to its postmodern redefinition as an "event" (temporal), from its conceptualization in terms of our failure to "cognitively map" the decentered global network of capital or the rhizomatic structure of the postmetropolis (spatial), to its neurophenomenological redefinition in terms of the new temporality of presence produced by network/real time (temporal). This volume explores the place of the sublime in contemporary culture and the aesthetic, cultural, and political values coded in it. It offers a map of the contemporary sublime in terms of the limits—cinematic, cognitive, neurophysiological, technological, or environmental—of representation.

In the course of its long and tumultuous history the sublime has alternated between spatial and temporal definitions, from its conceptualization in terms of the grandeur and infinity of Nature (spatial), to its postmodern redefinition as an "event" (temporal), from its conceptualization in terms of our failure to "cognitively map" the decentered global network of capital or the rhizomatic structure of the postmetropolis (spatial), to its neurophenomenological redefinition in terms of the new temporality of presence produced by network/real time (temporal). This volume explores the place of the sublime in contemporary culture and the aesthetic, cultural, and political values coded in it. It offers a map of the contemporary sublime in terms of the limits—cinematic, cognitive, neurophysiological, technological, or environmental—of representation.