Marx and the Moving Image approaches cinema from a Marxist perspective. It argues that the supposed 'end of history', marked by the comprehensive triumph of capitalism and the 'end of cinema', calls for revisiting Marx's writings in order to analyse film theories, histories and practices.

Autorentext
Martin Brady, King's College London, UK William Brown, University of Roehampton, UK Ian Fraser, Loughborough University, UK Peter Hames, Staffordshire University, UK John Hutnyk, Goldsmith College, University of London, UK Lars Kristensen, University of Skövde, Sweden Jakob Ladegaard, Aarhus University, Denmark Iris Luppa, London Southbank University, UK Ewa Mazierska, University of Central Lancashire, UK Silke Panse, University for the Creative Arts, UK Dennis Rothermel, California State University, Chico, USA Johan Siebers, University of Central Lancashire, UK Mike Wayne, Brunel University, UK

Inhalt
List of Figures Notes on Contributors Introduction; Ewa Mazierska and Lars Kristensen 1. The Dialectical Image: Kant, Marx and Adorno; Mike Wayne 2. The Utopian Function of Film Music; Johan Siebers 3. Bloch on Film as Utopia: Terence Davies' Distant Voices, Still Lives ; Ian Fraser 4. 'But Joe, it's 'Hour of Ecstasy'': A Materialist Revaluation of Fritz Lang's You and Me ; Iris Luppa 5. Laughing Matters: Four Marxist Takes on Film Comedy; Jakob Ladegaard 6. Workerist Film Humour; Dennis Rothermel 7. Alienated Heroes: Marxism and the Czechoslovak New Wave; Peter Hames 8. The Work and the Rights of the Documentary Protagonist; Silke Panse 9. Amateur Digital Filmmaking and Capitalism; William Brown 10. Citizen: Marx/Kane; John Hutnyk 11. The Meanings of History and the Uses of Translation in News from Ideological Antiquity - Marx/Eisenstein/The Capital (Video 2008) by Alexander Kluge; Ewa Mazierska 12. Marx for Children: Moor and the Ravens of London and Hans Röckle and the Devil ; Martin Brady Index