Translator’s Preface, by Clare O’Farrell
Introduction: Michel Foucault’s Cut, by Patrice Maniglier and Dork
Zabunyan
Part 1. Foucault and Film: A Historical and Philosophical
Encounter
1. What Film Is Able to Do: Foucault and Cinematic Knowledge, by
Dork Zabunyan
2. Versions of the Present: Foucault’s Metaphysics of the Event
Illuminated by Cinema, by Patrice Maniglier
Part 2. Michel Foucault on Film
3. Film, History, and Popular Memory
4. Marguerite Duras: Memory Without Remembering
5. Paul’s Story: The Story of Jonah
6. The Nondisciplinary Camera Versus Sade
7. The Asylum and the Carnival
8. Crime and Discourse
9. The Return of Pierre Rivière
10. The Dull Regime of Tolerance
11. The Four Horsemen of the Apocalypse
12. Werner Schroeter and Michel Foucault in Conversation
Appendix: Foucault at the Movies—a Program of Films
Notes
Bibliography
Index
Michel Foucault, a French historian, philosopher, and social
theorist, was one of the most important figures in
twentieth-century thought. His work has had enormous influence
throughout the humanities and social sciences.
Patrice Maniglier is senior lecturer in the department of
philosophy at the University of Paris–Nanterre.
Dork Zabunyan is professor of film studies at the University of
Paris–8.
Clare O’Farrell is senior lecturer in the Faculty of Education at
the Queensland University of Technology. Her books include
Foucault: Historian or Philosopher? (1989) and Michel Foucault
(2005).
Foucault at the Movies is an effectively translated and admirably
assembled work of film scholarship and philosophical history . . .
Foucault’s thoughts on film are fascinating yet also offer a more
genial look at the famed philosopher.
*Spectrum Culture*
To accept this volume's invitation 'to go to the movies with
Foucault' is to find oneself ushered to a seat from which the
screen ahead looks dazzlingly different.
*Times Literary Supplement*
Here is a collection to excite the archaeological imagination.
*Film Comment*
This volume will prove useful not only to anyone who teaches or
studies Foucault, but also to those interested in Continental
philosophy and film studies.
*Choice*
Foucault at the Movies is a challenging yet satisfying read that
bridges a considerable gap in film and philosophy. Well-researched,
its overarching strength is the location of film within Foucault’s
archaeological and genealogical project. This book will prove to be
pivotal reading for anyone interested in the intersections of
film-philosophy and film history and will doubtlessly titillate
Foucault scholars interested in a synthesis of these lesser-known
writings.
*Foucault Studies*
Like all of his great interviews, Foucault at the Movies presents
Foucault speaking in his own voice. We find Foucault saying that
“the art of living” means that psychology must be killed; that the
body must be dismantled; that memory must function without
remembering; and that passion is more interesting than love.
Foucault at the Movies is an invaluable addition to our
understanding of Foucault’s thought.
*Leonard Lawlor, Penn State University*
Michel Foucault’s writings have led many of us to think
differently. Do his observations on film introduce us to fresh ways
of seeing? If philosophers have primarily studied discourses of
truth, perhaps they need to give equal consideration to the
overpowering fabrication of regimes of fiction, especially those of
our cinematic culture. Is Fascism comprehensible apart from the
images of Leni Riefenstahl’s Triumph of the Will? Foucault at the
Movies is a stimulating engagement with a frequently overlooked
contribution from the French thinker.
*James Bernauer, Boston College*
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