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Mediamorphosis : Kafka and the moving image

"The idea of a visual manifestation of the work of Franz Kafka was denied by many--first and foremost by Kafka himself, who famously urged his publisher to avoid an image of the insect on the cover of The Metamorphosis. Be that as it may, it is unlikely that a central progenitor of twentieth-century art and thought as Kafka can be fully understood without reference to the revolutionary artistic medium of his century: cinema. This volume compiles essays by some of today's leading forces in the scholarship of Kafka as well as film studies to provide a thorough investigation of the reciprocal relations between the work of Kafka and the cinematic medium. This collection approaches the theoretical integration of Kafka and cinema via such issues as the cinematic qualities in Kafka's prose and the possibility of a visual manifestation of the Kafkaesque. Alongside these debates the volume investigates the capacity of cinema to incorporate and express the unique qualities of the Kafkaesque world through an analysis of cinematic adaptations of Kafka's prose, such as Michael Haneke's The Castle and Straub-Huillet's Class Relations, as well as of films which carry a more subtle relation to Kafka's oeuvre, such as the cinematic works of David Cronenberg, the films of the Coen brothers, Chris Marker's 'film-essay', Charlie Chaplin's tramp and others."--Page 4 of cover.The idea of a visual manifestation of the work of Franz Kafka was denied by many-first and foremost by Kafka himself, who famously urged his publisher to avoid an image of an insect on the cover of Metamorphosis. Be that as it may, it is unlikely that such a central progenitor of twentieth-century art and thought as Kafka can be fully understood without reference to the revolutionary artistic medium of his century: cinema. Mediamorphosis compiles articles by some of today's leading forces in the scholarship of Kafka as well as film studies to provide a thorough investigation of the reciprocal relations between Kafka's work and the cinematic medium. The volume approaches the theoretical integration of Kafka and cinema via such issues as the cinematic qualities in Kafka's prose and the possibility of a visual manifestation of the Kafkaesque. Alongside these debates, the book investigates the capacity of cinema to incorporate and express the unique qualities of a Kafkaesque world through an analysis of cinematic adaptations of Kafka's prose, such as Michael Haneke's The Castle (1997) and Straub-Huillet's Class Relations (1984), as well as films that carry a more subtle relation to Kafka's oeuvre, such as the cinematic works of David Cronenberg, the films of the Coen brothers, Chris Marker's "film-essay, " Charlie Chaplin's tramp, and others.

Online EBSCO Academic Comprehensive Collection

Plato and the moving image

This book shows how and why debates in the philosophy of film can be advanced through the study of the role of images in Plato's dialogues, and, conversely, why Plato studies stands to benefit from a consideration of recent debates in the philosophy of film. Contributions range from a reading of 'Phaedo' as a ghost story to thinking about climate change documentaries through Plato's account of 'pleonexia'. They suggest how philosophical aesthetics can be reoriented by attending anew to Plato's deployment of images, particularly images that move. They also show how Plato's deployment of images is integral to his practice as a literary artist.This book shows how and why debates in the philosophy of film can be advanced through the study of the role of images in Plato's dialogues, and, conversely, why Plato studies stands to benefit from a consideration of recent debates in the philosophy of film. Contributions range from a reading of Phaedo as a ghost story to thinking about climate change documentaries through Plato's account of pleonexia. They suggest how philosophical aesthetics can be reoriented by attending anew to Plato's deployment of images, particularly images that move. They also show how Plato's deployment of images is integral to his practice as a literary artist. Contributors are Shai Biderman, David Calhoun, Michael Forest, Jorge Tomas Garcia, Abraham Jacob Greenstine, Paul A. Kottman, Danielle A. Layne, David McNeill, Erik W. Schmidt, Timothy Secret, Adrian Switzer, and Michael Weinman.

Mediamorphosis : Kafka and the moving image

The idea of a visual manifestation of the work of Franz Kafka was denied by many-first and foremost by Kafka himself, who famously urged his publisher to avoid an image of an insect on the cover of Metamorphosis. Be that as it may, it is unlikely that such a central progenitor of twentieth-century art and thought as Kafka can be fully understood without reference to the revolutionary artistic medium of his century: cinema. Mediamorphosis compiles articles by some of today's leading forces in the scholarship of Kafka as well as film studies to provide a thorough investigation of the reciprocal relations between Kafka's work and the cinematic medium. The volume approaches the theoretical integration of Kafka and cinema via such issues as the cinematic qualities in Kafka's prose and the possibility of a visual manifestation of the Kafkaesque. Alongside these debates, the book investigates the capacity of cinema to incorporate and express the unique qualities of a Kafkaesque world through an analysis of cinematic adaptations of Kafka's prose, such as Michael Haneke's The Castle (1997) and Straub-Huillet's Class Relations (1984), as well as films that carry a more subtle relation to Kafka's oeuvre, such as the cinematic works of David Cronenberg, the films of the Coen brothers, Chris Marker's "film-essay, " Charlie Chaplin's tramp, and others.