Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Acknowledgements vii
4. Introduction – ‘Stratigraphic Silence’: Chaoid Cinema and its Centripetal/Centrifugal Functions 1
5. 1. ‘The Multiplicity is Among Us’: Silence and the Machinic Phylum in Fritz Lang’s M (1931) 22
6. 2. Ecosophical Chaoids: Towards an ‘Infinite Cinema’ with Hollis Frampton’s Zorns Lemma (1970) and Gloria! (1979) 54
7. 3. ‘There is No Film. Let Us Proceed to the Debates!’: Immanence as ‘Syncinema’ in Maurice Lemaître’s Le film est déjà commencé? (1951) and Guy Debord’s Hurlements en faveur de Sade (1952) 74
8. 4. The Children of Barthes and Paris Match: Godard, Prostitution and the Rhetoric of the Image 102
9. 5. ‘Tricontinental Tropicalism’: The Convulsive Carnival of a Syncretic Populism in Glauber Rocha’s Terra em Transe (1967), Der Leone Have Sept Cabeças (1970) and A Idada da Terra (1980) 149
10. 6. ‘See You at Mao’: the ’60s Left Returns to Zero with the Dziga Vertov Group 188
11. 7. Silencing Interpellation: Gorin, Althusser and the Ideological State Apparatus 227
12. 8. ‘We’re Projectorists!’: Concrete Duration and the Spectacle of Attractions in Malcolm Le Grice’s Little Dog for Roger (1967), Threshold (1972) and After Lumière – L’Arroseur Arrosé (1974) 263
13. 9. On Truth and Lie in an Extra-Formal Sense: Silence as Resistant Punctum in Abbas Kiarostami’s Chorus (1982), Homework (1989) and Close-Up (1990) 283
14. Conclusion – ‘The Abyss Also Looks Into You’: From Syncinema to ‘Sin’ Cinema in Mike Figgis’s Leaving Las Vegas (1995) and Harmony Korine’s Trash Humpers (2009) 318
15. Bibliography 334
16. Index 352