Prologue: The Eikōn-Eidōlon Dichotomy from Plato to Film

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. List of Figures vii
4. Acknowledgements viii
5. Introduction 1
6. Prologue: The Eikōn-Eidōlon Dichotomy from Plato to Film 23
7. Part I: Cinematic Iconoclasm as Critique: The Image as Eidōlon
8. 1. Aural Cinema: Isidore Isou’s Traité de bave et d’éternité 37
9. 2. An Aesthetics of Displeasure: Guy Debord’s Destructive Oeuvre 55
10. 3. Towards a Radical Voice: Carmelo Bene’s Our Lady of the Turks 73
11. 4. In Search of a True Image: Jean-Luc Godard’s Histoire(s) du cinéma 94
12. Part II: Cinematic Iconoclasm as an Ethics of (In)visibility: The Eikōn as Iconoclastic
13. 5. Impossible Encounters: Marguerite Duras’s Le Navire Night 115
14. 6. Blind Vision, Aural Resonances: Derek Jarman’s Blue 136
15. 7. Crumbling Faces: Ingmar Bergman’s Cries and Whispers 154
16. 8. Blocks of Suffering: Krzysztof Kieślowski’s Three Colours: Blue 172
17. Conclusion: A Communal Vision through Broken Images 189
18. Notes 195
19. Glossary 201
20. Bibliography 205
21. Filmography 223
22. Index 226