A series of philosophical meditations on the nature of aesthetics across a wide array of filmmaking styles
 
Images, whether filmic or not, cannot be replaced by words. Yet words can make images. This is the general thesis underlying So What, a collection of essays on canonical filmmakers like Luchino Visconti and Orson Welles; more experimental directors, such as Marguerite Duras and Albert Serra; and visual artists, including Hollis Frampton and Agnes Martin. Alexander García Düttmann aims to make their films as if they did not precede his text, capturing their idea and experience.
 
If the relationship between filmic image and text is a heterogeneous one, then this heterogeneity must leave a trace. This is why the book’s chapters are organized not according to historical periods or on the basis of film theories but rather by single concepts that function like dictionary entries. The chapters adopt different forms, blurring the lines between art and philosophy. So What is a practical exercise in “making films with words,” inviting readers to draw out insights from its conceptual play.
 
So What compiles previously untranslated and hard-to-find essays into a single volume, one that represents the absorbing and singular thought process of a major contemporary philosopher.

ALEXANDER GARCÍA DÜTTMANN teaches philosophy at Berlin University of the Arts. His many books include Visconti: Insights into Flesh and Blood, Between Cultures: Tensions in the Struggle for Recognition, What Is Contemporary Art?, and most recently, In Praise of Youth (Lob der Jugend) and The Hopeless (Die Hoffnungslosen).