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[null,"1.","Record Nr.",null,"UNISALENTO991003095799707536"]
[null,null,"Autore",null,"Kaszynski, Stefan H."]
[null,null,"Titolo",null,"Typologie und deutung der kurzgeschichten von Wolfgang Borchert / Stefan H. Kaszynski"]
[null,null,"Pubbl/distr/stampa",null,"Poznan : Uniwersytet im. Adama Mickiewicza, 1970"]
[null,null,"Descrizione fisica",null,"189 p. ; 24 cm"]
[null,null,"Collana",null,"Seria filologia germanska ; 8"]
[null,null,"Disciplina",null,"833.914"]
[null,null,"Soggetti",null,"Borchert, Wolfgang"]
[null,null,"Lingua di pubblicazione",null,"Tedesco"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,"2.","Record Nr.",null,"UNINA9910300027703321"]
[null,null,"Autore",null,"Comanducci Carlo"]
[null,null,"Titolo",null,"Spectatorship and Film Theory : The Wayward Spectator / / by Carlo Comanducci"]
[null,null,"Pubbl/distr/stampa",null,"Cham : , : Springer International Publishing : , : Imprint : Palgrave Macmillan, , 2018"]
[null,null,"ISBN",null,"9783319967431"]
[{"$nulls":4},"3319967436"]
[null,null,"Edizione",null,"[1st ed. 2018.]"]
[null,null,"Descrizione fisica",null,"1 online resource (207 pages)"]
[null,null,"Disciplina",null,"302.2343"]
[null,null,"Soggetti",null,"Motion pictures"]
[{"$nulls":4},"Aesthetics"]
[{"$nulls":4},"Film Theory"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"1. Introduction: Film theory, a divided passion? -- 2. The heteronomy of subjectivity and the spectator’s emancipation -- 3. Everyday film theory -- 4. Situatedness and contingency of film experience -- 5. The process of free association and film as an evocative object -- 6. The indeterminacy of embodiment -- 7. The spectator as a history of encounters."]
[null,null,null,"Sommario/riassunto","This book interrogates the relation between film spectatorship and film theory in order to criticise some of the disciplinary and authoritarian assumptions of 1970s apparatus theory, without dismissing its core political concerns. Theory, in this perspective, should not be seen as a practice distinct from spectatorship but rather as an integral aspect of the spectator’s gaze. Combining Jacques Rancière’s emancipated spectator with Judith Butler’s queer theory of subjectivity, Spectatorship and Film Theory foregrounds the contingent, embodied and dialogic aspects of our experience of film. Erratic and always a step beyond the grasp of disciplinary discourse, this singular work rejects the notion of the spectator as a fixed position, and instead presents it as a field of tensions—a “wayward” history of encounters."]