What is the work of film in the age of transnational production? To answer that question, Randall Halle focuses on the film industry of Germany, one of Europe's largest film markets and one of the world's largest film-producing nations. In the 1990s Germany experienced an extreme transition from a state-subsidized mode of film production that was free of anxious concerns about profit and audience entertainment to a mode dominated by private interest and big capital. At the same time, the European Union began actively drawing together the national markets of Germany and other European nations, sublating their individual significances into a synergistic whole. This book studies these changes broadly, but also focuses on the transformations in their particular national context. It balances film politics and film aesthetics, tracing transformations in financing along with analyses of particular films to describe the effects on the film object itself. Halle concludes that we witness currently the emergence of a new transnational aesthetic, a fundamental shift in cultural production with ramifications for communal identifications, state cohesion, and national economies.
Speaking as one of the founders of American Continental philosophy, Calvin O. Schrag offers an exceptionally clear, balanced, and informative discussion of a complex questions vexing postmodern currents of philosophical and theological reflection: Does the "death" of the god conceived as a "highest being" in Western, and especially modern, traditions open a new space within which to rethink God in terms of a "gift" or "giving" that would stand beyond the usual spate of metaphysical categories?
Schrag draws with grace, ease, and precision upon the history of Western metaphysics, from Plato and Aristotle through Nietzsche and Heidegger. Most important to his central question of God as "otherwise than Being," however, are such influential post-Heideggerian thinkers as Jean-Luc Marion, Jacques Derrida, and Emmanuel Levinas. Schrag's inquiry engages these thinkers at a serious level and also expands recent discussions by relating them to the work of figures hitherto overlooked or underplayed, most notably Paul Tillich.
In this long-awaited work, Ray L. Hart offers a radical speculative theology that profoundly challenges classical understandings of the divine. God Being Nothing contests the conclusions of numerous orthodoxies through a probing question: How can thinking of God reach closure when the subjects of creation are themselves unfinished, when God’s self-revelation in history is ongoing, when the active manifestation of God is still occurring?
Drawing on a lifetime of reading in philosophy and religious thought, Hart unfolds a vision of God perpetually in process: an unfinished God being self-created from nothingness. Breaking away from the traditional focus on divine persons, Hart reimagines the Trinity in terms of theogony, cosmogony, and anthropogony in order to reveal an ever-emerging Godhead who encompasses all of temporal creation and, within it, human existence. The book’s ultimate implication is that Being and Nonbeing mutually participate in an ongoing process of divine coming-to-birth and dying that implicates all things, existent and nonexistent, temporal and eternal. God’s continual generation from nothing manifests the full actualization of freedom: the freedom to create ex nihilo.