Kirjahaku

Re-examining the works of France's most controversial of literary figures, this book contends that Louis-Ferdinand C line's pronouncements on the importance of style must be taken seriously if an understanding of those works is to be reached. Capitalism and Schizophrenia in the Later Novels of Louis-Ferdinand C line provides a major reconsideration of the greater part of the oeuvre of this too-often neglected author. Leaving behind the symbolic capital that the name C line accrued during the Second World War, this study looks at the works written around and after this period in order to understand the importance of their revolutionary aesthetic not only for their genesis, but also for their very content. The approach taken is unashamedly theoretical which allows this study to provide insights not only into the works of C line, but also into those of the French thinkers Deleuze and Guattari whose thought, it is argued here, can only be apprehended through application.

Everyone knows what noise is. Or do they? Can we in fact say that one man's noise is another teenager's music? Is noise in fact only an auditory phenomenon or does it extend far beyond this realm? If our common definitions of noise are necessarily subjective and noise is not just unpleasant sound, then it merits a closer look (or listen). Greg Hainge sets out to define noise in this way, to find within it a series of operations common across its multiple manifestations that allow us to apprehend it as something other than a highly subjective term that tells us very little. Examining a wide range of texts, including Sartre's novel Nausea and David Lynch's iconic films Eraserhead and Inland Empire, Hainge investigates some of the Twentieth Century's most infamous noisemongers to suggest that they're not that noisy after all; and it finds true noise in some surprising places. The result is a thrilling and illuminating study of sound and culture.

Everyone knows what noise is. Or do they? Can we in fact say that one man's noise is another teenager's music? Is noise in fact only an auditory phenomenon or does it extend far beyond this realm? If our common definitions of noise are necessarily subjective and noise is not just unpleasant sound, then it merits a closer look (or listen). Greg Hainge sets out to define noise in this way, to find within it a series of operations common across its multiple manifestations that allow us to apprehend it as something other than a highly subjective term that tells us very little. Examining a wide range of texts, including Sartre's novel Nausea and David Lynch's iconic films Eraserhead and Inland Empire, Hainge investigates some of the Twentieth Century's most infamous noisemongers to suggest that they're not that noisy after all; and it finds true noise in some surprising places. The result is a thrilling and illuminating study of sound and culture.

Philippe Grandrieux is one of cinema’s only living true radicals and feted as one of the most innovative and important film makers of his generation. His consistently controversial work remains, however, relatively unknown outside of the international art film festival circuit. In this volume, the first book-length study of the work of Grandrieux in any language, Greg Hainge provides an overview and critical analysis of Grandrieux’s entire career during which he has produced works for television, video installations, photography, performance pieces, documentary films, short films and prize-winning feature films. As well as providing an overview, the book argues that a critical appraisal of his work necessarily leads us to problematize many of the critical orthodoxies that have been formed in recent times, to reject the concept of a haptic cinema and to supplant this instead with the idea of a sonic cinema.

Philippe Grandrieux is one of cinema’s only living true radicals and feted as one of the most innovative and important film makers of his generation. His consistently controversial work remains, however, relatively unknown outside of the international art film festival circuit. In this volume, the first book-length study of the work of Grandrieux in any language, Greg Hainge provides an overview and critical analysis of Grandrieux’s entire career during which he has produced works for television, video installations, photography, performance pieces, documentary films, short films and prize-winning feature films. As well as providing an overview, the book argues that a critical appraisal of his work necessarily leads us to problematize many of the critical orthodoxies that have been formed in recent times, to reject the concept of a haptic cinema and to supplant this instead with the idea of a sonic cinema.