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Zweifelnde Vision: Film und die offenbaristische Tradition von Malcolm Turvey (Englisch-
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Artikelmerkmale
- Artikelzustand
- ISBN-13
- 9780195320985
- Book Title
- Doubting Vision
- ISBN
- 9780195320985
Über dieses Produkt
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0195320980
ISBN-13
9780195320985
eBay Product ID (ePID)
64379912
Product Key Features
Number of Pages
304 Pages
Publication Name
Doubting Vision : Film and the Revelationist Tradition
Language
English
Subject
Film / History & Criticism
Publication Year
2008
Type
Textbook
Subject Area
Performing Arts
Format
Trade Paperback
Dimensions
Item Height
0.6 in
Item Weight
8.9 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2007-043642
Reviews
"Classical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. In Doubting Vision, Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory."-No"el Carroll, Temple University"In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue."--Edward Dimendberg, author of Film Noir and the Spaces of Modernity"In this profoundly original book Turvey anatomizes with acuity and precision a third revelationist tradition of film theory alongside the familiar creationist and realist traditions and traces its persistence in contemporary writers such as Cavell and Deleuze. Further, he demonstrates how the roots of this tradition lie in the denigration of vision within modernism, a denigration that is based upon a conceptual confusion about the nature of seeing. This Turvey systematically extirpates with the tools of ordinary language philosophy. Written with remarkable lucidity and panache, Doubting Vision is an intellectual tour de force that is required reading for all film scholars and anyone who is interested in the history of modernism."--Richard Allen, New York University, "Classical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. In Doubting Vision, Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory."-Noël Carroll, Temple University"In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue."--Edward Dimendberg, author of Film Noir and the Spaces of Modernity"In this profoundly original book Turvey anatomizes with acuity and precision a third revelationist tradition of film theory alongside the familiar creationist and realist traditions and traces its persistence in contemporary writers such as Cavell and Deleuze. Further, he demonstrates how the roots of this tradition lie in the denigration of vision within modernism, a denigration that is based upon a conceptual confusion about the nature of seeing. This Turvey systematically extirpates with the tools of ordinary language philosophy. Written with remarkable lucidity and panache, Doubting Vision is an intellectual tour de force that is required reading for all film scholars and anyone who is interested in the history of modernism."--Richard Allen, New York University, "Classical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. In Doubting Vision, Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory."-Nol Carroll, Temple University "In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue."--Edward Dimendberg, author of Film Noir and the Spaces of Modernity "In this profoundly original book Turvey anatomizes with acuity and precision a third revelationist tradition of film theory alongside the familiar creationist and realist traditions and traces its persistence in contemporary writers such as Cavell and Deleuze. Further, he demonstrates how the roots of this tradition lie in the denigration of vision within modernism, a denigration that is based upon a conceptual confusion about the nature of seeing. This Turvey systematically extirpates with the tools of ordinary language philosophy. Written with remarkable lucidity and panache, Doubting Vision is an intellectual tour de force that is required reading for all film scholars and anyone who is interested in the history of modernism."--Richard Allen, New York University, "Classical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. In Doubting Vision, Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory."--Noel Carroll, Temple University "In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue."--Edward Dimendberg, author of Film Noir and the Spaces of Modernity "In this profoundly original book Turvey anatomizes with acuity and precision a third revelationist tradition of film theory alongside the familiar creationist and realist traditions and traces its persistence in contemporary writers such as Cavell and Deleuze. Further, he demonstrates how the roots of this tradition lie in the denigration of vision within modernism, a denigration that is based upon a conceptual confusion about the nature of seeing. This Turvey systematically extirpates with the tools of ordinary language philosophy. Written with remarkably lucidity and panache, Doubting Vision is an intellectual tour de force that is required reading for all film scholars and anyone who is interested in the history of modernism."--Richard Allen, New York University, "Classical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. In Doubting Vision, Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory."-No¨el Carroll, Temple University"In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue."--Edward Dimendberg, author of Film Noir and the Spaces of Modernity"In this profoundly original book Turvey anatomizes with acuity and precision a third revelationist tradition of film theory alongside the familiar creationist and realist traditions and traces its persistence in contemporary writers such as Cavell and Deleuze. Further, he demonstrates how the roots of this tradition lie in the denigration of vision within modernism, a denigration that is based upon a conceptual confusion about the nature of seeing. This Turvey systematically extirpates with the tools of ordinary language philosophy. Written with remarkable lucidity and panache, Doubting Vision is an intellectual tour de force that is required reading for all film scholars and anyone who is interested in the history of modernism."--Richard Allen, New York University, "Classical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. InDoubting Vision,Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory."-No l Carroll, Temple University "In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue."--Edward Dimendberg, author ofFilm Noir and the Spaces of Modernity "In this profoundly original book Turvey anatomizes with acuity and precision a third revelationist tradition of film theory alongside the familiar creationist and realist traditions and traces its persistence in contemporary writers such as Cavell and Deleuze. Further, he demonstrates how the roots of this tradition lie in the denigration of vision within modernism, a denigration that is based upon a conceptual confusion about the nature of seeing. This Turvey systematically extirpates with the tools of ordinary language philosophy. Written with remarkable lucidity and panache,Doubting Visionis an intellectual tour de force that is required reading for all film scholars and anyone who is interested in the history of modernism."--Richard Allen, New York University, "Classical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. In Doubting Vision, Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory."-Noël Carroll, Temple University"In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue."--Edward Dimendberg, author of Film Noir and the Spaces of Modernity"In this profoundly original book Turvey anatomizes with acuity and precision a third revelationist tradition of film theory alongside the familiar creationist and realist traditions and traces its persistence in contemporary writers such as Cavell and Deleuze. Further, he demonstrates how the roots of this tradition lie in the denigration of vision within modernism, a denigration that is based upon a conceptual confusion about the nature of seeing. This Turveysystematically extirpates with the tools of ordinary language philosophy. Written with remarkable lucidity and panache, Doubting Vision is an intellectual tour de force that is required reading forall film scholars and anyone who is interested in the history of modernism."--Richard Allen, New York University"Classical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. In Doubting Vision, Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory."-Noël Carroll, Temple University"In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue."--Edward Dimendberg, author of Film Noir and the Spaces of Modernity"In this profoundly original book Turvey anatomizes with acuity and precision a third revelationist tradition of film theory alongside the familiar creationist and realist traditions and traces its persistence in contemporary writers such as Cavell and Deleuze. Further, he demonstrates how the roots of this tradition lie in the denigration of vision within modernism, a denigration that is based upon a conceptual confusion about the nature of seeing. This Turveysystematically extirpates with the tools of ordinary language philosophy. Written with remarkably lucidity and panache, Doubting Vision is an intellectual tour de force that is required reading forall film scholars and anyone who is interested in the history of modernism."--Richard Allen, New York University, "Classical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. In Doubting Vision, Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory."-Noël Carroll, Temple University "In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue."--Edward Dimendberg, author of Film Noir and the Spaces of Modernity "In this profoundly original book Turvey anatomizes with acuity and precision a third revelationist tradition of film theory alongside the familiar creationist and realist traditions and traces its persistence in contemporary writers such as Cavell and Deleuze. Further, he demonstrates how the roots of this tradition lie in the denigration of vision within modernism, a denigration that is based upon a conceptual confusion about the nature of seeing. This Turvey systematically extirpates with the tools of ordinary language philosophy. Written with remarkable lucidity and panache, Doubting Vision is an intellectual tour de force that is required reading for all film scholars and anyone who is interested in the history of modernism."--Richard Allen, New York University, "Classical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. InDoubting Vision,Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory."-Noël Carroll, Temple University "In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue."--Edward Dimendberg, author ofFilm Noir and the Spaces of Modernity "In this profoundly original book Turvey anatomizes with acuity and precision a third revelationist tradition of film theory alongside the familiar creationist and realist traditions and traces its persistence in contemporary writers such as Cavell and Deleuze. Further, he demonstrates how the roots of this tradition lie in the denigration of vision within modernism, a denigration that is based upon a conceptual confusion about the nature of seeing. This Turvey systematically extirpates with the tools of ordinary language philosophy. Written with remarkable lucidity and panache,Doubting Visionis an intellectual tour de force that is required reading for all film scholars and anyone who is interested in the history of modernism."--Richard Allen, New York University
Dewey Edition
22
Illustrated
Yes
Dewey Decimal
791.4301
Table Of Content
Introduction1: The Revelationist Tradition: Exegesis2: The Revelationsit Tradition: Critique3: Revelationism and Contemporary Film Theory4: The Lure of Visual SkepticismNotes
Synopsis
The film theories of Jean Epstein, Dziga Vertov, Bela Balazs, and Siegfried Kracauer have long been studied separately from each other. In Doubting Vision, film scholar Malcolm Turvey argues that their work constitutes a distinct, hitherto neglected tradition, which he calls revelationism, and which differs in important ways from modernism and realism. For these four theorists and filmmakers, the cinema is an art of mass enlightenment because it escapes the limits of human sight and reveals the true nature of reality. Turvey provides a detailed exegesis of this tradition, pointing to its sources in Romanticism, the philosophy of Henri Bergson, modern science, and other intellectual currents. He also shows how profoundly it has influenced contemporary film theory by examining the work of psychoanalytical-semiotic theorists of the 1970s, Stanley Cavell, the modern-day followers of Kracauer and Walter Benjamin, and Gilles Deleuze. Throughout, Turvey offers a trenchant critique of revelationism and its descendants. Combining the close analysis of theoretical texts with the philosophical method of conceptual clarification pioneered by the later Wittgenstein, he shows how the arguments theorists and filmmakers have made about human vision and the cinema's revelatory powers often traffic in conceptual confusion. Having identified and extricated these confusions, Turvey builds on the work of Epstein, Vertov, Balazs, and Kracauer as well as contemporary philosophers of film to clarify some legitimate senses in which the cinema is a revelatory art using examples from the films of filmmakers such as Alfred Hitchcock and Jacques Tati., Jean Epstein, Dziga Vertov, Bela Balazs, and Siegfried Kracauer viewed the cinema as an art of mass enlightenment that escapes the limits of human sight and reveals the true nature of reality. Here, Turvey offers a detailed exegesis of their work, showing how it constitutes a distinct tradition within film history, revelationism, that continues to have a profound influence on contemporary film theory. Criticizing and building on their arguments, he shows in whatways film is a genuinely revelatory art., Philosopher and film theorist Stanley Cavell has argued that "film is a moving image of skepticism." By skepticism, he does not mean an explicitly theorized philosophical doctrine, but rather the somewhat vaguer idea, hugely influential in modernity and still very much with us, that the ability of us human beings to know the world around us is limited, that we are unable, or fail, to know reality as it really is. Film satisfies a commonplace skeptical impulse to escape one's subjectivity and isolation by connecting with an experience, readily available and mechanically reproducible, that is beyond one's own limited perspective. Film and Skepticism shows that much film theory and filmmaking is a euphoric expression of the belief that in the cinema we finally have at our disposal a technology that overcomes the gulf created by skepticism between subject and object, self and other, consciousness and nature--our "metaphysical isolation," to use Cavell's felicitous phrase. It examines the influence of skepticism on the theories and films of a number of major film theorists and filmmakers from the 1920s through to the present day--Jean Epstein, Dziga Vertov, Béla Balázs, Stan Brakhage, Siegfried Kracauer, Cavell, psychoanalytical-semiotic theory of the 1970s, and Gilles Deleuze. It also argues that in its response to skepticism, their work constitutes a distinct, previously overlooked revelationist tradition that is different in crucial ways from modernism and realism, the other two major traditions in film theory. In short, the book posits the importance of a revelationist tradition in cinema history, shows that this tradition arises from the influence of skepticism, and--by drawing on ordinary language philosophy, particularly the philosophies of Wittgenstein and Gilbert Ryle--offers a critique of the skeptical foundations of the revelationist tradition. Turvey's book offers a significant new understanding of film and philosophy, one which will interest scholars of both disciplines. Those who have followed Turvey's work as editor of the influential journal October will be especially interested in this, his first full-length work of scholarship.
LC Classification Number
PN1995.T7935 2008
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- c***a (121)- Bewertung vom Käufer.Letzter MonatBestätigter KaufThe seller was very responsive and answered me on a timely matter. The product itself came in its packaging and was new, not used at all. The packaging was not beat up or anything, safely delivered to my mailbox. No mix ups and zero stress with delivery. The price for the product is completely understandable for the product. I really appreciate the seller and I am very happy to have purchased through this seller. Completely trustable!
- m***4 (1603)- Bewertung vom Käufer.Letzter MonatBestätigter KaufLeaving positive feedback because 1) item was packed well & arrived as described 2) seller did give partial refund when subsequent price dropped below org purchase price. 3) communication was quick However, there was a downside to this transaction -item listed as in-stock but ended up waiting nearly a month for them to get it from their distributer then ship it to me (bought June 29th, arrived around July 21). Auction said 12-15 days. Better clarity would have prevented lot of frustration
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