The Geopolitical Aesthetic

The Geopolitical Aesthetic : Cinema and Space in the World System

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The Geopolitical Aesthetic is a dazzling... distillation and application of the theoretical system he first presented in The Political Unconscious (1981)." -The San Francisco Bay GuardianTaking contemporary films from the United States, Russia, Taiwan, France, and the Philippines, The Geopolitical Aesthetic offers a reading of some of the most interesting films of the last decade and a general account of filmic representation in the postmodern world. Fredric Jameson poses some essential questions: How does representation function in contemporary film? How does contemporary cinema represent an ever more complex and international social reality? Jameson's sophisticated and theoretically informed readings stress the ways in which disparate films-for example, Godard's Passion, Pakula's All the President's Men, Yang's The Terrorizer, Tahimik's The Perfumed Nightmare, Tarkovsky's Andrei Roublev-confront similar problems of representation. The solutions vary widely but the drive remains the same-the desire to find adequate allegories for our social existence.The Geopolitical Aesthetic, a refinement and development of the arguments put forward in Jameson's seminal work The Political Unconscious, is crucial reading for everyone interested in both film analysis and cultural studies.show more

Product details

  • Paperback | 240 pages
  • 152.4 x 223.52 x 17.78mm | 249.47g
  • Indiana University Press
  • Bloomington, IN, United States
  • English
  • Reprint
  • 0253209668
  • 9780253209665
  • 617,887

About Fredric R. Jameson

FREDRIC JAMESON is Distinguished Professor of Comparative Literature at Duke University, where he directs the Graduate Program in Literature. His numerous published works include Signatures of the Visible, The Concept of Postmodernism, and Late Marxism: Adorno on the Persistence of the Dialectic.show more

Back cover copy

One of the great excitement of this book is the way that the perspective it obtains enables an entirely fresh look at the whole question of film, and politics. What Jameson suggests is that we must now analyze film comparatively-that we can only understand a films politics when we place it both in its local political context and its global context as film-for any film will inevitably reflect on what one might call its place in the global distribution of cultural power.show more

Table of contents

Preface by Colin MacCabeIntroduction: Beyond LandscapePart One: Totality as a ConspiracyPart Two: CircumnavigationsChapter 1 On Soviet Magic RealismChapter 2 Remapping TaipeiChapter 3 High-Tech Collectives in Late GodardChapter 4 `Art Naif' and the Admixture of WorldsIndexshow more

Rating details

70 ratings
3.78 out of 5 stars
5 24% (17)
4 41% (29)
3 24% (17)
2 9% (6)
1 1% (1)
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