LEADER 01018nam a2200265 i 4500 001 991002566189707536 005 20020508202414.0 008 010514s1963 it ||| | ita 035 $ab11028683-39ule_inst 035 $aPARLA165139$9ExL 040 $aDip.to Filosofia$bita 082 0 $a332.401 100 1 $aGaliani, Ferdinando$067905 245 10$aDella moneta e scritti inediti /$cFerdinando Galiani ; con introduzione di Alberto Caracciolo e a cura di Alberto Merola 260 $aMilano :$bFeltrinelli,$c1963 300 $aXLIII, 421 p. ;$c18 cm. 490 0 $aUniversale economica. Biblioteca di classici italiani ;$v14 700 1 $aCaracciolo, Alberto 700 1 $aMerola, Nicola 907 $a.b11028683$b23-02-17$c28-06-02 912 $a991002566189707536 945 $aLE005IF XII D 16$g1$i2005000249396$lle005$o-$pE0.00$q-$rl$s- $t0$u1$v0$w1$x0$y.i1114936x$z28-06-02 996 $aDella moneta e scritti inediti$9150805 997 $aUNISALENTO 998 $ale005$b01-01-01$cm$da $e-$fita$git $h0$i1 LEADER 04067oam 22005174a 450 001 9910131521003321 005 20241204164031.0 035 $a(CKB)3710000000499583 035 $a(SSID)ssj0001666277 035 $a(PQKBManifestationID)16455425 035 $a(PQKBTitleCode)TC0001666277 035 $a(PQKBWorkID)15000394 035 $a(PQKB)10249481 035 $a(OCoLC)1181774786 035 $a(MdBmJHUP)muse87176 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/31236 035 $a(oapen)doab31236 035 $a(EXLCZ)993710000000499583 100 $a20200729e20202015 uy 0 101 0 $aeng 135 $aurm|#||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aChaste Cinematics$fVictor J. Vitanza 210 $aBrooklyn, NY$cpunctum books$d2015 210 1$aBaltimore, Maryland :$cProject Muse,$d2020 210 4$dİ2020 215 $a1 online resource (xxx, 243 pages) $cillustrations; digital, PDF file(s) 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$aPrint version: 0692541551 320 $aIncludes bibliographical references (pages 219-243). 327 $aPreamble. Behind the ob-scenes (or, confronting the preamble) -- Chaste cinema I? -- Chaste cinema II+? -- Chaste cinema III? -- Excursus : the assessment-test event -- Alternate endings with rebeginnings? -- Easter eggs -- Deleted scenes. 330 $aVictor J. Vitanza (author of Sexual Violence in Western Thought and Writing) continues to rethink the problem of sexual violence in cinema and how rape is often represented in "chaste" ways, in the form of a Chaste Cinematics. Vitanza continues to discuss Chaste Cinematics as participating in transdisciplinary-rhetorical traditions that establish the very foundations (groundings, points of stasis) for nation states and cultures. In this offering, however, the initial grounding for the discussions is "base materialism" (George Bataille): divine filth, the sacred and profane. It is this post-philosophical base materialism that destabilizes binaries, fixedness, and brings forth excluded thirds. Vitanza asks: why is it that a repressed third, or a third figure, returns, most strangely as a "product" of rape and torture? He works with Jean-Paul Sartre and Page duBois's suggestion that the "product" is a new "species." Always attempting unorthodox ways of approaching social problems, Vitanza organizes his table of contents as a DVD menu of "Extras" (supplements). This menu includes Alternate Endings and Easter Eggs as well as an Excursus, which invokes readers to take up the political exigency of the DVD-Book. Vitanza's first "Extra" studies a trio of films that need to be reconsidered, given what they offer as insights into Chaste Cinematics: Amadeus (a mad god), Henry Fool (a foolish god), and Multiple Maniacs (a divine god who is raped and eats excrement). The second examines Helke Sander's documentary Liberators Take Liberties, which re-thinks the rapes of German women by the Russians and Allies during the Battle of Berlin. The third rethinks Margie Strosser's video-film Rape Stories that calls for revenge. In the Alternate Endings, Vitanza rethinks the problem of reversibility in G. Noe's Irreversible. In the Easter Eggs, he considers Dominique Laporte's "the Irreparable," as the object of loss and Giorgio Agamben's "the Irreparable," as hope in what is without remedy. The result is not another film-studies book, but a new genre, a new set of rhetorics, for new ways of thinking about cinematics, perhaps postcinematics. 606 $aMotion pictures$xPhilosophy 606 $aRape in motion pictures$xHistory and criticism 615 0$aMotion pictures$xPhilosophy. 615 0$aRape in motion pictures$xHistory and criticism. 700 $aVitanza$b Victor J.$0887972 712 02$aProject Muse, 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910131521003321 996 $aChaste cinematics$91983444 997 $aUNINA