Film Figures: An Organological Approach

Cover
Halftitle page
Title page
Copyright page
Dedication
Contents
Figures
Preface
Acknowledgements
Introduction
	The figural
	Paraconsistency
	The force of resistance
	Drive
	The mystery of film
	Mechanical creativity
	The in-between
	Transcendental materialism?
	The ethical task
	Methexis
	Care
	The limits of noetic freedom
	Becoming cinematic
	Facing the catastrophe
	The chapters
1 Organology
	The archival future
	Transindividuation
	Bergson’s thesis on duration
	The apparatus of self-reflection
	Rear Window
	The speculum
	Doubly epokhal redoubling
	The promise of technics
2 Hermeneutics
	Methexis: A spherical model
	The choral voice
	Neganthropic resistance
	The crystalline flow
	The inhuman
	The distancing function of images
	Figura
	Amor fati
	Concluding remarks
3 Dreaming
	This-has-been
	The dead past
	Paths taken and not taken
	Stereotypes and traumatypes
	Acinema
	Art film
	The Lady from Shanghai
	End game
4 Cinematic time
	Non-indecisive action
	L‘Eclisse
	Blindness of the seeing eye
	Bresson’s blind camera
	Une Femme Douce
	Methexis: A pharmacological model
5 Spherology
	Neganthropy
	A spherological view
	The character/automation split
	Moral action
	The Father: An abstract
	The Kammerspielfilm
	The Father: Analysis
Conclusion
Notes
Bibliography
Index