This collection brings together an exciting group of established and emerging scholars to consider the history of feminist film theory and new developments in the field and in film culture itself. Opening the field up to urgent questions and covering such topics as new experimental film, the digital image, consumerism, activism, and pornography, Feminisms will be essential reading for scholars of both film and feminism.
Gilles Deleuze is widely regarded as one of the major postwar proponents of Nietzschean thought in continental philosophy. Over a period of forty years, he presented what amounts to a philosophy of vitalism and multiplicity, bringing together concepts from thinkers as diverse as Nietzsche and Hume.
In the first comprehensive English-language introduction to Deleuze, John Marks offers a lucid reading of a complex, abstract and often perplexing body of work. Marks examines Deleuze’s philosophical writings – as well as the political and aesthetic preoccupations which underpinned his thinking – and provides a rigorous and illuminating reading of Deleuze’s early studies of Hume, Nietzsche, Kant, Bergson and Spinoza, his collaborations with Felix Guattari, and the development of a distinctively ‘Deleuzian’ conceptual framework. Marks focuses on the philosophical friendship that developed between Deleuze and Foucault and considers the full range of Deleuze’s fascinating writings on literature, art and cinema. This is a clear and concise guide to the work of one of the twentieth century’s most influential thinkers.
At the center of Hegel and the Problem of Multiplicity is the question: what could the term "multiplicity" mean for philosophy? Andrew Haas contends that most contemporary philosophical understandings of multiplicity are either Aristotelian or Kantian and that these approaches have solidified into a philosophy guided by categories of identity and different—categories to which multiplicity as such cannot be reduced. The Hegelian conception of multiplicity, Haas suggests, is opposed to both categories—or, in fact, supersedes them. To come to terms with this critique, Haas undertakes a rigorous, technical analysis of Hegel's Science of Logic. The result is a reading of the concept of multiplicity as multiple, that is, as multiplicities.
Plants produce a considerable number of structures of one kind, like leaves, flowers, fruits, and seeds, and this reiteration is a quintessential feature of the body plan of higher plants. But since not all structures of the same kind produced by a plant are identical—for instance, different branches on a plant may be male or female, leaf sizes in the sun differ from those in the shade, and fruit sizes can vary depending on patterns of physiological allocation among branches—a single plant genotype generally produces a multiplicity of phenotypic versions of the same organ.
Multiplicity in Unity uses this subindividual variation to deepen our understanding of the ecological and evolutionary factors involved in plant-animal interactions. On one hand, phenotypic variation at the subindividual scale has diverse ecological implications for animals that eat plants. On the other hand, by choosing which plants to consume, these animals may constrain or modify plant ontogenetic patterns, developmental stability, and the extent to which feasible phenotypic variants are expressed by individuals.
An innovative study of the ecology, morphology, and evolution of modular organisms, Multiplicity in Unity addresses a topic central to our understanding of the diversity of life and the ways in which organisms have coevolved to cope with variable environments.
A key figure in early avant-garde cinema, Walter Ruttmann was a pioneer of experimental animation and the creative force behind one of the silent era's most celebrated montage films, Berlin: Symphony of a Great City. Yet even as he was making experimental films, Ruttmann had a day job. He worked regularly in advertising -and he would go on to make industrial films, medical films, and even Nazi propaganda films. Michael Cowan offers here the first study of Ruttmann in English, not only shedding light on his commercial, industrial, and propaganda work, but also rethinking his significance in light of recent transformations in film studies. Cowan brilliantly teases out the linkages between the avant-garde and industrial society in the early twentieth century, showing how Ruttmann's films incorporated and enacted strategies for managing the multiplicities of mass society.This book has won the Willy Haas Award 2014 for its outstanding contribution to the study of German cinema.