Keywords in Subversive Film / Media Aesthetics

Robert Stam is University Professor at New York University. He has authored, co-authored and edited 17 books on film, cultural theory, national cinema, and postcolonial studies. His books include Francois Truffaut and Friends (2006), Literature through Film (2005), Film Theory: An Introduction (2000), and Tropical Multiculturalism (1997). He is co-author, with Ella Shohat, of Race in Translation (2012), Flagging Patriotism (2006), and Unthinking Eurocentrism (1994). Richard Porton is the author of Film and the Anarchist Imagination (1999) and editor of Dekalog 3: On Film Festivals (2009). One of the editors of Cineaste magazine, his work on film has appeared in Cinema Scope, Sight & Sound, and The Daily Beast. Leo Goldsmith is a PhD candidate in the Department of Cinema Studies at New York University. He is the Film Editor of The Brooklyn Rail.

Acknowledgments vii

Introduction 1

1 An Aesthetics of the Commons 29

The Aesthetic Commons 30

From Columbus to Indigenous Media 32

First Peoples, First Features 37

The Storytelling Commons 42

Revisionist Adaptation and the Literary Commons 47

Cultural Indigenization 53

The Archival Commons and the Ab]original Musical 58

2 The Upside]Down World of the Carnivalesque 68

The People’s Second Life 68

Sacred Parody 72

Festive]Revolutionary Practices 76

Unruly Women 79

Polymorphous Celebrations 83

Stand]up Comedy and Nuclear Catastrophe 86

Contemporary Fools 90

Pedagogic Humor and Provocation 94

Tropes of Social Inversion 98

Offside Cinema 100

3 Political Modernism and Its Discontents 107

The Two Avant]Gardes 108

The Brechtian Legacy 110

Beyond Brecht 120

The Affective]Corporeal Turn 126

The Rediscovery of Pleasure 133

The Legacy of the V]Effect 136

Political Cinema in the Age of the Posts 139

4 The Transmogrification of the Negative 145

An Aesthetic of Mistakes 146

Third Cinema: From Hunger to Garbage 148

Sublime Detritus 154

The Recombinant Sublime 158

Anthropophagic Modernism 161

Situationist Détournement 165

Culture Jamming 168

Neo]Situationism and the Aesthetics of Failure 171

Media Jujitsu 175

The New Kino]Eye: Vision Machines 178

5 Hybrid Variations on a Documentary Theme 185

The Fiction–Documentary Continuum 185

Murderous Reenactments 189

The Mediatic Spectrum 193

From Representation to Self]Presentation 199

The Strategic Advantages of Hybridization 206

Performative Films 211

The Essay Film and Mockumentaries 215

6 Hollywood Aristotelianism, the Fractured Chronotope, and the Musicalization of Cinema 225

Hollywood Aristotelianism: the Orthodox Chronotope 225

Alternatives to Aristotle: the Menippean Strain 233

Pop Culture Anachronism and the Chronotope of the Road 239

Baroque Modernism and the Marvelous American Real 244

Trance]Modernism 246

Contrapuntal Variations 251

Transformative Becomings 258

The Shape]Shiftings of Popular Culture 266

Metaphysical Cine]Poetry 268

7 Aesthetic/Political Innovation in the Digital Era 276

Beyond Accelerationism: Digital Montage and Duration 282

Tools of Engagement: Interactivity and Digital Détournement 285

IRL Subversions: Tactical Media and Digital Materialism 288

In Guise of a Conclusion 292

Index 298