A LADY VANISHES Towards the end of Rue Ordener, Rue Labat (1994), the terse and elegant autobiographical fiction she wrote just before terminating her life, Sarah Kofman (1934-94) inserts a brief episode relating her admiration for Alfred Hitchcock’s The Lady… Read More ›
Of all the film-philosophies of the twentieth century, it is perhaps Deleuze‘s that is most of the cinema. It attempts to belong to cinema rather than simply be about it. It shows us film thinking for itself. The magnanimity Deleuze… Read More ›
Fredric Jameson is among the most prominent theorists of postmodernism and one of the foremost Marxist critics of his generation. In Postmodernism, or the Cultural Logic of Late Capitalism (1991), film occupies a central place in his account of the… Read More ›
Unlike a number of his contemporaries, Jean Baudrillard (1929-2007) does not provide a single, systematic theory of cinema. Instead, his comments are scattered across a range of works, taking the variant forms of brief asides, longer analyses and remarks made… Read More ›
Born in 1931 in Beziers in the south of France, Christian Metz died tragically at the end of 1993. Metz opened the way in the 1960s to the establishment of film theory as a new intellectual discipline. Indeed, articles (written… Read More ›
Theoretical approaches to the cinematic representation of lesbianism represent a particularly complex and fruitful area of feminist film study, as well as one filled with substantial debate. Issues arise, for instance, concerning the exact definition of a lesbian film as… Read More ›
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