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Cinema, by Alain Badiou
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For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiou’s account of cinema.
He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the movement of thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people – a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras.
- Sales Rank: #837506 in Books
- Brand: Brand: Polity
- Published on: 2013-06-04
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .90" w x 6.05" l, .90 pounds
- Binding: Paperback
- 320 pages
- Used Book in Good Condition
From Publishers Weekly
The best of French philosopher Badiou's over 50 years' worth of writing on cinema is collected in this intriguing volume. It begins with an interview conducted by editor de Baecque in which Badiou considers the role of film in culture as a "school for everyone", his evolving relationship with the cinema, and the radical politics that often inform his work. His 1977 essay "Revisionist Cinema" lays out these politics, decrying the ideals of "new bourgeoisie" directors like Bergman and Kubrick. Badiou posits an "axiomatic" approach to film discussion in which we eschew judgment in favor of asking "how a particular film lets us travel with a particular idea in such a way that we might discover what nothing else could lead us to discover." Badiou describes film as "the seventh art", explaining how it interacts with other media, and provides brilliant, in-depth analyses on the techniques, styles, and themes of several films. His crucial essay is "Cinema as Philosophical Experimentation" in which he explores film as both a "mass art" and a subject worthy of serious philosophical thought. Badiou's writing style may be difficult to those unaccustomed to French philosophy, but the material is worth the effort. (June)
Review
"Fascinating ... every word of Badiou's writing radiates with a pronounced sense of exuberance for cinema, and presents the convincing case that it is the liveliest of the seven arts."
Film International
"Provides brilliant, in-depth analyses on the techniques, styles, and themes of several films."
Publishers Weekly
"The chance to truly and fully understand the nature of cinema through the eyes of someone who is clearly one of its most passionate advocates."
Morning Star
"Badiou’s unfashionable militancy is sure to continue to generate a degree of mock not-this-again head-scratching from the guardians of sober academic scholarship in the humanities, as well as from whoever might be assigned to review Badiou in say, The New York Review of Books."
Los Angeles Review of Books
"While a thorough reading of this book is an intellectual investment, I would highly recommend it, particularly to those interested in the pursuit of cultural renewal by artistic means."
Englewood Review of Books
"There is an aphoristic concision to Badiou's thinking that is capable of producing moments of true enlightenment."
Review 31
"These rich and diverse pieces are all ostensibly concerned with cinema, but are ultimately far more profound than often their occasion would demand. Providing an important exploration of politics, esthetics, the visible, and cinema's relation to thinking and procedures of decision, this volume gives the reader of Badiou a sense of this major thinker's intellectual development. Spitzer's translation of this volume is a careful and meticulous rendering of Badiou's thought."
Claire Colebrook, Penn State University
"Since the 1950s Badiou has written in excess of thirty essays on cinema. It is clear that film has been a constant companion in his articulation of art as a form of truth-making event, the creation of unworldly truths. This collection brings these writings together in English for the first time, allowing us to see just how important film is for Badiou’s philosophy of the event."
John Mullarkey, Kingston University, London
"These rich and diverse pieces are all ostensibly concerned with cinema, but are ultimately far more profound than often their occasion would demand. Providing an important exploration of politics, esthetics, the visible, and cinema's relation to thinking and procedures of decision, this volume gives the reader of Badiou a sense of this major thinker's intellectual development. Spitzer's translation of this volume is a careful and meticulous rendering of Badiou's thought."
Claire Colebrook, Penn State University
"Since the 1950s Badiou has written in excess of thirty essays on cinema. It is clear that film has been a constant companion in his articulation of art as a form of truth-making event, the creation of unworldly truths. This collection brings these writings together in English for the first time, allowing us to see just how important film is for Badiou’s philosophy of the event."
John Mullarkey, Kingston University, London
About the Author
Alain Badiou was Chair of the Department of Philosophy at the École Normale Supérieure in Paris and is one of the leading philosophers in France today. His many books include Being and Event and The Century.
Most helpful customer reviews
7 of 7 people found the following review helpful.
Set aside preconceptions, or read selectively
By Thomas F. Dillingham
Although there are some philosophically oriented English/American writers about movies, they tend not to be among those most recognized by anglophone movie fans. Some very fine writers--James Agee, Andrew Sarris, Pauline Kael, Dwight Macdonald, Murray Kempton,and many others--have produced readable and insight-filled commentaries on specific movies and the art form in general. It is uncommon, however, in English language writing about movies, to encounter the kind of complex and sometimes almost incomprehensible prose produced by the philosopher-critics of the French tradition.
Alain Badiou, as we are reminded in the introduction to this collection, has been writing about CINEMA for more than fifty years. This collection offers a number of fascinating, sometimes impossibly arcane, sometimes disappointingly boring, commentaries, usually about genres or directorial oeuvres more than about particular movies. In other words, though Badiou has strong opinions about the importance, indeed the deep relevance, of cinema to western culture, he is not a movie reviewer and does not bother with thumbs up or down, numbers of stars or popcorn tubs, and so on. As an unreconstructed (though somewhat reconfigured over the years) Marxist, his analyses tend to focus on what he considers the fundamental issues and orientation of the films he discusses, and he shows a strong preference for the kinds of politically oriented films that we associate with Jean-Luc Godard or, in Badiou's case, the surprising examples of the films of Jacques Tati. He strongly denigrates some of the most famous and revered French directors and their "quality" films, which he considers to be mummified museum pieces rather than living works of art.
For a reader willing to navigate the sometimes jargon-turgid prose, these essays are often rewarding. One major drawback for many American readers will be the frequent references to political activities and even politicians indigenous to France and the intricacies of French politics, as well as other distinctly parochial francophone interests. Some notes--not really copious enough for non-French readers--help to clarify some of those points, but a few essays are really worthless to us because of their arcane nature. I found, therefore, that reading selectively and being willing simply to skip ahead if an essay became too opaque, was the way to go with this. From that, I found enough of interest to make the book a worthwhile encounter.
9 of 10 people found the following review helpful.
Badiou on Cinema: a collection of essays from across his career
By Pen Name?
As a reader of continental philosophy, I recall the emergence of English translations of Badiou's work about a decade ago, preceded by the praise and references of Slavoj Zizek. I was curious at least to check out the work of this thinker, though for the most part I have found his writings to be tangential or at odds with my own research interests. But, I do like to keep up from time to time with the work of anyone so prominent in the field, particularly when it comes to work on the arts and culture.
It seems like a lot of modern French philosophers eventually publish a volume on cinema, and so here we have Alain Badiou collecting some of his own writings on cinema, from essays published and previously unpublished. These essays span his whole career, which is interesting in itself. One work even dates as far back as 1957 when Badiou was a student. The volume was originally published in France in 2010 and features both an essay on Clint Eastwood from that year and a new 20 page interview to start the volume which deals with his interest in cinema and engages with the circumstances of some of his writings. This interview itself may be the biggest draw for some readers as it gives a direct look into how Badiou understands his own ideas opening up in relation to cinematic culture and experience.
Like the essay collection "Infinite Thought," this volume may provide a nice entry way into Badiou's thinking, particularly for those who are already versed in film. It's certainly more approachable than say... Being and Event.
3 of 3 people found the following review helpful.
the seventh art
By Case Quarter
antoine de baecque, by assembling all of alain badiou's published writings, plus two unpublished essays, lectures, and a couple of interviews, on cinema, has done not just badiou, but the reader, a service.
the book's strength relies on badiou's developing and continuous thought from essay to essay. the essays are arranged in chronological order. over the years we are privileged seeing how badiou developed his ideas on cinema, starting in 1957. badiou was a twenty year old student, spending his free time at a movie theater near his school, watching french and american films from the 1920s. his first film essay, CINEMATIC CULTURE, was published in vin nouveau. in that essay he discussed film as technique and as influenced, writing on scene, the shot, the frame, and adding his opinions on intuition, language and taste. `cinema,' he would later say, `is the art of the perpetual past ... to speak of film is always to speak of a reminiscence ...'
fast forward 20 years, ten years after the events in france during may 1968 finds badiou critiquing the events and cinema from a political perspective. badiou is a maoist. his first of several pieces for la feuille foudre, the journal for a marxist-leninist intervention in cinema and culture, is REVISIONIST CINEMA, a manifesto pooh-poohing counter revolutionary art.
fortunately, for the reader, the 1980s have him distancing art from politics, and this is where his ideas start to get interesting. goddard becomes a focal point for him. badiou discusses goddard's techniques and his method of situating the political and human connection. badiou's distancing of the political is not a relinquishment of politics, he's very clear about the difference. in a film critique from this period he discussed paul nizan, a good friend of jean paul sartre, mentioned by sartre in a lengthy biographical sketch in sartre's SITUATIONS.
the 1990s and into the 21st century show him as the philosopher working through questions of how film connects to reality. he uses plato's images within the cave to discuss the first MATRIX film. he equates the ancient greek audience at the tragedy plays with the filmgoer since the 1900s, finding both audiences engaged in popular entertainment of their time. cinema is a mass art, enjoyed in its immediacy by millions, offering a democratic appeal which no other art form has ever matched. one reason, unlike the other seven categories of art, `film is an impurity that can only be purified by the admixture of the Beautiful,' with american cinema being `unquestionably one of the greatest artistic creations of the century,' the tension and the character, that is, the hero, in the epic, who against impossible odds, car chases and explosions, always triumphs, a scenario that rarely happens in european film. a couple of other american films discussed are MAGNOLIA and clint eastwood's A PERFECT WORLD. reading badiou's enthusiasm for american cinema, i wonder what he thinks of weekly american tv dramas.
there is also his TRIBUTE TO GILLES DELEUZE, a description of the deleuze's books CINEMA 1 and CINEMA 2, in which badiou ponders time in philosophy and cinema, speculating how cinema will change the way philosophy is conducted.
there are several films, which i have not seen and intend to see, and films i have seen at which, thanks to badiou, i will take another look.
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