Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. Introduction: Always Historicize the Moving Image! Fredric Jameson’s Place in Film Studies 1
4. 1 Feeling Film as the Pulse of the Postmodern Condition: On Jameson’s “On Diva” 33
5. 2 Allegory and Accommodation: Vertov’s Three Songs of Lenin (1934) as a Stalinist Film 54
6. 3 Nostalgia, Melancholy, and the Persistence of Stalin in Polish Cinema 70
7. 4 Jameson, Angelopoulos, and the Spirit of Utopia 90
8. 5 Jameson and Japanese Media Theory: A Virtual Dialogue 111
9. 6 Where Jameson Meets Queer Theory: Queer Cognitive Mapping in 1990s Sinophone Cinema 131
10. 7 A Jamesonian Reading of Parasite (2019): Homes, Real Estate Speculation, and Bubble Markets in Seoul 146
11. 8 Strategies of Containment in Middle-Class Films from Mexico and Brazil 165
12. 9 The Neoliberal Conspiracy: Jameson, New Hollywood, and All the President’s Men 180
13. 10 The Conspiracy Film, Hollywood’s Cultural Paradigms, and Class Consciousness 201
14. 11 A Theory of the Medium Shot: Affective Mapping and the Logic of the Encounter in Fredric Jameson’s The Geopolitical Aesthetic 223
15. 12 “An American Utopia” and the Politics of Military Science Fiction 235
16. Afterword 252
17. Acknowledgments 257
18. Notes on Contributors 259
19. Index 263