By Jason Barker
'[Badiou's concept] enacts a go back to full-blown philosophy that moves as a thunder into the morass of postmodernist sophisms and platitudes. . . . [Badiou] goals on the very middle of politically right 'radical' intellectuals, undermining the rules in their mode of life!' Slavoj Zizek, Professor on the Institute of Sociology, collage of Ljubljana
Alain Badiou is swiftly rising as essentially the most radical and influential philosophers of our time. Badiou opposes the modern relief of philosophy to not anything yet a question of language and untimely bulletins of the top of philosophy and hence units himself opposed to either analytic and continental modes of philosophy. surroundings the normal platonic matters of philosophy, fact and being, opposed to the fashionable sophists of postmodernism, Badiou has articulated a robust systematic philosophy with profound moral and political effects. this can be the 1st creation to Alain Badiou in English and is principally well timed because the variety of Badiou's works in translation is speedily expanding and his big name maintains to upward push. Giving a transparent review of Badiou's paintings and the highbrow and political context from which it emerges, Jason Barker's e-book is determined to develop into the normal paintings on Badiou for a few years to come.
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Extra info for Alain Badiou: A Critical Introduction (Modern European Thinkers)
The disagreements focus on two aspects of their ideas in particular: their treatment of emotions in relation to film, and their account of the audience. Behind these stands an issue about what is the point of analysing films. 1 This book aims to prove in action the power of its approach to films, through closely worked examples. In that sense, my project is very similar to hers: let the analyses be their own justification. And insofar as the analyses go, it seems to me that she makes an unanswerable case.
Nor can films produce direct behavioural effects on their audiences. That is to make a category mistake of the same order as a government decreeing the mobilisation of wooden horses – they have missed the point. This doesn’t make art irrelevant or ineffectual: to the contrary. As Thompson says: ‘This is not to say that films have no effect on us. As with all artworks, they are of vital importance in our lives. 9). And film, like any other form of art, can have cogent effects in disturbing settled thinking.
If actual people are not to figure, why do film analysis? 4). In one sense, that is a perfectly reasonable proposal: why not study any film which seriously interests us? But if it means, as I suspect, that films should be studied because we suspect that they have depths which need uncovering, then ‘intrigue’ becomes another coded term for ‘hidden quality’. What if I am intrigued by films which are totally obvious? Whose pleasures look simple, direct and have mass appeal? In this book I will argue that we can learn a great deal by taking apart how ‘obviousness’ is achieved in popular films.