Critically examines how radical political theory and its application to film analysis can provide insight to the aesthetic self during political upheaval and conflict

Lars von Trier's intense, disturbing, and sometimes funny films have led many to condemn him as misogynist or misanthropic. The same films inspire this collection's reflections on how our fears and desires regarding gender, power, race, finitude, family, and fate often thwart -- and sometimes feed -- our best democratic aspirations. The essays in this volume attend to von Trier's role as provocateur, as well as to his films' techniques, topics, and storytelling. Where others accuse von Trier of being clichéd, the editors argue that he intensifies the "clichés of our times" in ways that direct our political energies towards apprehending and repairing a shattered world. The book is certainly for von Trier lovers and haters but, at the same time, political, critical, and feminist theorists entirely unfamiliar with von Trier's films will find this volume's essays of interest. Most of the contributors tarry with von Trier to develop new readings of major thinkers and writers, including Agamben, Bataille, Beauvoir, Benjamin, Deleuze, Euripides, Freud, Kierkegaard, Ranciére, Nietzsche, Winnicott, and many more. Von Trier is both central and irrelevant to much of this work. Writing from the fields of classics, literature, gender studies, philosophy, film and political theory, the authors stage an interdisciplinary intervention in film studies.

This book presents essays and scientific contributions examining the link between popular media and politics. The essays focus on the question of how political and social change, concepts of power, and utopian elements are reflected in selected films and television series. The book applies a political science perspective, covering theories from political philosophy, political sociology and international relations, and examines a wide range of movies and TV series, such as The Godfather, Fight Club, The Walking Dead and Game of Thrones. It will appeal to anyone interested in studying how political ideas, concepts and messages can be illustrated and visualized using the complex media of movies and TV series.

The book presents cinematic case studies in political realism versus political idealism, demonstrating methods of viewing popular cinema as political theory. The book appreciates political myth-making in popular genres as especially practical and accessible theorizing about politics.

In this volume, the work of British psychoanalyst D.W. Winnicott is set in conversation with some of today’s most talented psychodynamically-sensitive political thinkers. The editors and contributors demonstrate that Winnicott’s thought contains underappreciated political insights, discoverable in his reflections on the nature of the maturational process, and useful in working through difficult impasses confronting contemporary political theorists. Specifically, Winnicott’s psychoanalytic theory and practice offer a framework by which the political subject, destabilized and disrupted in much postmodern and contemporary thinking, may be recentered. Each chapter in this volume, in its own way, grapples with this central theme: the potential for authentic subjectivity and inter-subjectivity to arise within a nexus of autonomy and dependence, aggression and civility, destructiveness and care. This volume is unique in its contribution to the growing field of object-relations-oriented political and social theory. It will be of interest to political scientists, psychologists, and scholars of related subjects in the humanities and social sciences.

In this book, Michael J. Shapiro stages a series of pedagogical encounters between political theory, represented as a compositional challenge, and cinematic texts, emphasizing how to achieve an effective research paper/essay by heeding the compositional strategies of films. The text’s distinctiveness is its focus on the intermediation between two textual genres. It is aimed at providing both a conceptual introduction to the politics of aesthetics and a guide to writing strategies. In its illustrations of encounters between political theory and cinema, the book’s critical edge is its emphasis on how to intervene in cinematic texts with innovative conceptual frames in ways that challenge dominant understandings of life worlds. The Cinematic Political is designed as a teaching resource that introduces students to the relationship between film form and political thinking. With diverse illustrative investigations, the book instructs students on how to watch films with an eye toward writing a research paper in which a film (or set of films) constitutes the textual vehicle for political theorizing.

The emerging field of ‘psychoanalytic political theory’ has now reached a stage in its development and rapid evolution that deserves to be registered, systematically defined and critically evaluated. This Handbook provides the first reference volume which showcases the current state of psychoanalytic political theory, maps the genealogy of its development, identifies its conceptual and methodological resources and highlights its analytical innovations as well as its critical promise. The Handbook consists of 35 chapters offering original, comprehensive and critical reviews of this field of study. The chapters are divided into five thematic sections: Figures discusses the work of major psychoanalytic theorists who have influenced considerably the development of psychoanalytic political theory. Traditions genealogically recounts and critically reassesses the many attempts throughout the 20th century of experimenting with the articulation between psychoanalysis and political theory in a consistent way. Concepts asks what are the concepts that psychoanalysis offers for appropriation by political theory. Themes presents concrete examples of the ways in which psychoanalytic political theory can be productively applied in the analysis of racism, gender, nationalism, consumerism, etc. Challenges/Controversies captures the ways in which psychoanalytic political theory can lead the way towards theoretical and analytical innovation in many disciplinary fields dealing with cutting-edge issues. The Routledge Handbook of Psychoanalytic Political Theory will serve as scholarly reference volume for all students and researchers studying political theory, psychoanalysis, and the history of ideas.

The new edition of this influential work updates and expands the scope of the original, including more sustained analyses of individual films, from The Birth of a Nation to The Wolf of Wall Street. An interdisciplinary exploration of the relationship between American politics and popular films of all kinds—including comedy, science fiction, melodrama, and action-adventure—Projecting Politics offers original approaches to determining the political contours of films, and to connecting cinematic language to political messaging. A new chapter covering 2000 to 2013 updates the decade-by-decade look at the Washington-Hollywood nexus, with special areas of focus including the post-9/11 increase in political films, the rise of political war films, and films about the 2008 economic recession. The new edition also considers recent developments such as the Citizens United Supreme Court decision, the controversy sparked by the film Zero Dark Thirty, newer generation actor-activists, and the effects of shifting industrial financing structures on political content. A new chapter addresses the resurgence of the disaster-apocalyptic film genre with particular attention paid to its themes of political nostalgia and the turn to global settings and audiences. Updated and expanded chapters on nonfiction film and advocacy documentaries, the politics of race and African-American film, and women and gender in political films round out this expansive, timely new work. A companion website offers two additional appendices and further materials for those using the book in class.

Popular movies can be surprisingly smart about politics - from the portentous politics of state or war, to the grassroots, everyday politics of family, romance, business, church and school. Politics in Popular Movies analyses the politics in many well-known films across four popular genres: horror, war, thriller and science fiction. The book's aims are to appreciate specific movies and their shared forms, to understand their political engagements and to provoke some insightful conversations. The means are loosely related 'film takes' that venture ambitious, playful and engaging arguments on political styles encouraged by recent films. Politics in Popular Movies shows how conspiracy films expose oppressive systems; it explores how various thrillers prefigured American experiences of 9/11 and shaped aspects of the War on Terror; how some horror films embrace new media, while others use ultra-violence to spur political action; it argues that a popular genre is emerging to examine non-linear politics of globalisation, terrorism and more. Finally it analyses the ways in which sci-fi movies reflect populist politics from the Occupy and Tea Party movements, rethink the political foundations of current societies and even remake our cultural images of the future.

Understanding democracy through film philosophy and political theory Shining new light on our understanding of cinema’s ways of political thinking, Intermedialities: Political Theory and Cinematic Experience puts modern political theory in conversation with the philosophy of film. Davide Panagia argues that there are no natural laws of association that can guarantee a template for democratic participation, as democracy is predicated not on stabilizing foundations but rather on the formation of expansive collectivities and institutions that are responsive to alterability. Instead, democracy requires a relational ontology, one that he elucidates by turning to philosophers of film like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard—all of whom have articulated a political aesthetic of cinematic experience that is at once aspectual and compositional. Panagia reads these thinkers alongside a countertradition of modern political thought, represented by David Hume, Ludwig Wittgenstein, and Gilbert Simondon. His articulation of cinematic experience thus allows for a political aesthetic that is rooted in the migratory realities of undetermined relations.