By Gerard Loughlin
Gerard Loughlin is likely one of the best theologians operating on the interface among faith and modern tradition. during this unprecedented paintings, he makes use of cinema and the flicks it exhibits to consider the church and the visions of hope it monitors. It discusses quite a few movies, together with "The Alien Quartet", Christopher Nolan's "Memento", Stanley Kubrick's "2001: an area Odyssey and A Clockwork Orange", Nicolas Roeg's "The guy Who Fell to Earth" and Derek Jarman's "The Garden". It attracts on quite a lot of authors, either old and sleek, non secular and secular, from Plato to Levinas, from Karl Barth and Hans Urs von Balthasar to Andre Bazin and Leo Bersani. It makes use of cinema to contemplate the church as an ecclesiacinema, and flicks to consider sexual wish as erotic dispossession, as a manner into the lifetime of God. it really is written from a appreciably orthodox Christian point of view, right away either Catholic and critical.
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A better half to Michael Haneke is a definitive selection of newly-commissioned paintings that covers Haneke’s physique of labor in its entirety, catering to scholars and students of Haneke at a time while curiosity within the director and his paintings is soaring.
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Caters to scholars and students of Haneke at a time whilst curiosity within the director and his paintings is soaring.
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Table of contents:
Notes on Contributors.
Introduction: Haneke’s Anachronism (Roy Grundmann).
Part I serious and Topical techniques to Haneke’s Cinema.
1 Performative Self-Contradictions: Michael Haneke’s brain video games (Thomas Elsaesser).
2 5 Tapes, 4 Halls, goals: Vicissitudes of Surveillant Narration in Michael Haneke’s Caché (Thomas Y. Levin).
3 Infectious photographs: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and picture (Vinzenz Hediger).
4 monitoring Code Unknown (Tom Conley).
5 Michael Haneke and the hot Subjectivity: structure and movie (Peter Eisenman).
6 video games Haneke performs: fact and function (Brigitte Peucker).
7 Figures of Disgust (Christa Blümlinger).
8 with out tune: On Caché (Michel Chion).
9 struggling with the Melodramatic situation: Haneke’s Polemics (Jörg Metelmann).
10 “Mourning for the Gods who've Died”: The function of faith in Michael Haneke’s Glaciation Trilogy (Gregor Thuswaldner).
Part II the tv Films.
11 A depression hard work of affection, or movie version as Translation: 3 Paths to the Lake (Fatima Naqvi)
12 Michael Haneke and the tv Years: A interpreting of Lemmings (Peter Brunette).
13 diversifications on issues: Spheres and area in Haneke’s version (Monica Filimon and Fatima Naqvi).
14 Projecting hope, Rewriting Cinematic reminiscence: Gender and German Reconstruction in Michael Haneke’s Fraulein (Tobias Nagl).
15 (Don’t) glance Now: Hallucinatory artwork heritage in Who used to be Edgar Allan? (Janelle Blankenship).
16 forms and visible type (Brian Price).
Part III The German-Language Theatrical Features.
17 constructions of Glaciation: Gaze, standpoint, and Gestus within the movies of Michael Haneke (Georg Seeßlen).
18 The Void on the middle of items: Figures of identification in Michael Haneke’s Glaciation Trilogy (Peter J. Schwartz).
19 how one can Do issues with Violences (Eugenie Brinkema).
20 among Adorno and Lyotard: Michael Haneke’s Aesthetic of Fragmentation (Roy Grundmann).
21 Hollywood Endgames (Leland Monk).
Part IV The French-Language Theatrical Features.
22 category clash and concrete Public house: Haneke and Mass Transit (Barton Byg).
23 Multicultural Encounters in Haneke’s French-Language Cinema (Alex Lykidis).
24 Haneke's Secession: Perspectivism and Anti-Nihilism in Code Unknown and Caché (Kevin L. Stoehr).
25 The Unknown Piano instructor (Charles Warren).
26 Discordant wants, Violent Refrains: los angeles Pianiste (The Piano instructor) (Jean Ma).
27 Civilization’s unending Shadow: Haneke’s Time of the Wolf (Evan Torner).
28 The Intertextual and Discursive Origins of Terror in Michael Haneke’s Caché (T. Jefferson Kline).
Part V Michael Haneke Speaks.
29 Terror and Utopia of shape: Robert Bresson’s Au hasard Balthazar (Michael Haneke).
30 Violence and the Media (Michael Haneke).
31 the area that's identified: An Interview with Michael Haneke (Christopher Sharrett).
32 Unsentimental schooling: An Interview with Michael Haneke (Roy Grundmann).
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Extra info for Alien Sex: The Body and Desire in Cinema and Theology
Thus Henry Peschke tells us that the ‘male is more active and outgoing; he possesses greater courage to assail. The female is more receptive and protective; she shows greater fortitude to endure . . The logic of facts and keen penetration are characteristic of the man; the ASC01 09/10/2003 03:37 PM Page 25 Desiring Bodies 20 21 22 23 24 25 26 27 28 29 30 31 25 woman is more led by emotion, sensitivity and intuition. H. Peschke, Christian Ethics [Dublin: Goodliffe Neale, 1978], vol. 2, p. 377; quoted in Moore, Body in Context, p.
59. See further below, chapter 5 (God’s Sex). Levinas, Time and the Other, p. 94. Galen quoted in Peter Brown, The Body and Society: Men, Women and Sexual Renunciation in Early Christianity (London: Faber & Faber, 1988), p. 33. Brown, Body and Society, p. 31. Brown, Body and Society, p. 230. Evagrius Ponticus (346–99) departed Constantinople for the Nitrian desert, between Alexandria and Cairo. His writings, particularly his treatise on prayer, influenced later ascetic theologians, such as John Cassian (c.
Levinas rejects this myth of sexual union as the fusion of complements, for that which complements yourself, that which fills up your lack of self and returns you to yourself, is not other than yourself. There is no going outside of yourself, no meeting with another, but only more of yourself: an engorged solipsism. 19 Those who seek for their complement – always heterosexual (androgynous) in the prevailing Christian rendition, but also homosexual (male and female) in the original Platonic joke – seek for that which they can grasp and hold, but which they can never really receive as different from themselves, as the appearing of the Other in flesh.