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035   $a(DE-He213)978-1-137-56652-2
035   $a(MiAaPQ)EBC4716703
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100   $a20160601d2016      u|         0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 10$aAlthusser and Pasolini $ePhilosophy, Marxism, and Film /$fby Agon Hamza
205   $a1st ed. 2016.
210  1$aNew York :$cPalgrave Macmillan US :$cImprint: Palgrave Macmillan,$d2016.
215   $a1 online resource (200 p.)
300   $aDescription based upon print version of record.
311   $a1-137-56651-5 
320   $aIncludes bibliographical references and index.
327   $aIntroduction: Althusser and Pasolini -- PART I: On Althusser -- 1. Contextualisation -- 2. Periodization -- 3. Taking Sides: Hegel or Spinoza? -- 4. Structural Causality -- 5. Althusser before Althusser: from Christianity to Communism -- 6. Marxists? Preshistory -- 7. Proletariat of Human Condition Versus the Proletariat of Labor -- 8. Christian Materialism -- 9. Antiphilosophy -- 10. Definition of Ideology -- 11. Epistemological Break -- 12. Interpellation -- 13. State Apparatuses -- 14. Church as an Ideological State Apparatus 15. Althusser?s Politics -- PART II: The Gospel According to Althusser -- 16. Setting the Stage -- 17. Camera as an Ideological Apparatus -- 18. Film as a Commodity -- 19. Representation -- 20. The Christian Reality -- 21. Religious Suspension of the Theological -- 22. Religious-Political -- us Humanity -- 25. The Politics of Religion -- 26. Pasolini?s Political Though -- Conclusion: Marxism and Film. .
330   $a Agon Hamza offers an in-depth analysis of the main thesis of Louis Althusser?s philosophical enterprise alongside a clear, engaging dissection of Pier Paolo Pasolini?s most important films. There is a philosophical, religious, and political relationship between Althusser?s philosophy and Pier Paolo Pasolini?s films. Hamza teases out the points of contact, placing specific focus on critiques of ideology, religion, ideological state apparatuses, and the class struggle. The discussion, however, does not address Althusser and Pasolini alone. Hamza also draws on Spinoza, Hegel, Marx, and ?i?ek to complete his study. Pasolini?s films are a treasure-trove of Althusserian thought, and Hamza ably employs Althusserian terms in his reading of the films. Althusser and Pasolini provides a creative reconstruction of Althusserian philosophy, as well as a novel examination of Pasolini?s film from the perspective of the filmmaker?s own thought and Althusser?s theses. .
606   $aAesthetics
606   $aModern philosophy
606   $aSocial sciences?Philosophy
606   $aReligion?Philosophy
606   $aMotion pictures?European influences
606   $aAesthetics$3https://scigraph.springernature.com/ontologies/product-market-codes/E11000
606   $aModern Philosophy$3https://scigraph.springernature.com/ontologies/product-market-codes/E19000
606   $aSocial Philosophy$3https://scigraph.springernature.com/ontologies/product-market-codes/E43000
606   $aPhilosophy of Religion$3https://scigraph.springernature.com/ontologies/product-market-codes/E33000
606   $aEuropean Cinema and TV$3https://scigraph.springernature.com/ontologies/product-market-codes/413060
615  0$aAesthetics.
615  0$aModern philosophy.
615  0$aSocial sciences?Philosophy.
615  0$aReligion?Philosophy.
615  0$aMotion pictures?European influences.
615 14$aAesthetics.
615 24$aModern Philosophy.
615 24$aSocial Philosophy.
615 24$aPhilosophy of Religion.
615 24$aEuropean Cinema and TV.
676   $a111.85
700   $aHamza$b Agon$4aut$4http://id.loc.gov/vocabulary/relators/aut$01061563
906   $aBOOK
912   $a9910255356103321
996   $aAlthusser and Pasolini$92519215
997   $aUNINA