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dc.contributor.authorAdair, Tyleren
dc.date.accessioned2020-10-29T19:20:01Z
dc.date.available2020-10-29T19:20:01Z
dc.identifier.urihttp://hdl.handle.net/1974/28537
dc.description.abstractIn the wake of the ‘post-political’ turn and the foreclosure of politics as a productive space of “contestation and agonistic engagement” (Wilson and Swynegedouw 6) in the neoliberal age, this project seeks to return to and refurbish the contributions of the German playwright and theorist Bertolt Brecht (1898-1956) to film theory, particularly as they were engaged with and put into practice by the critics of the Cahiers du Cinema and Screen in the aftermath of the events of May 1968. Resisting the “Brecht-fatigue” which accompanied the larger global “Marxism-fatigue” (qtd. in Kleber 8) in the postmodern period, I argue for the enduring relevance of maintaining fidelity to a ‘politics of form’ as advocated by these thinkers while also acknowledging the theoretical excesses of the period as they have been identified by Sylvia Harvey and Dana Polan, namely, the conflation of Brechtianism with a deconstruction of film language and an impenetrable and self-cannibalizing modernism which was at risk of losing its political relevance. However, in order to redeem the remarkable films of Jean-Marie Straub and Daniele Huillet at the core of this project, arguably the exemplars of ‘Brechtian cinema’ who are most often singled out as embodying this excess, I attempt to initiate a hermenutical shift in the reception of their films by examining their underexplored ‘Bazinian dimension’ and the profound influence of Andre Bazin’s thought on Straub. Focusing on his 2014 film, Kommunisten, I argue that the political dimension of its style resides in its taking a particular attitude towards reality and articulates, through the power of the image, certain facts about the contingency of our situation today to demonstrate that these conditions are neither natural nor eternal, but can be infinitely transformed.en
dc.language.isoengen
dc.relation.ispartofseriesCanadian thesesen
dc.rightsQueen's University's Thesis/Dissertation Non-Exclusive License for Deposit to QSpace and Library and Archives Canadaen
dc.rightsProQuest PhD and Master's Theses International Dissemination Agreementen
dc.rightsIntellectual Property Guidelines at Queen's Universityen
dc.rightsCopying and Preserving Your Thesisen
dc.rightsThis publication is made available by the authority of the copyright owner solely for the purpose of private study and research and may not be copied or reproduced except as permitted by the copyright laws without written authority from the copyright owner.en
dc.subjectMarxismen
dc.subjectBertolt Brechten
dc.subjectAndre Bazinen
dc.subjectfilm theoryen
dc.subjectJean-Marie Strauben
dc.titleBazin-Brecht-Strauben
dc.typethesisen
dc.description.degreeM.A.en
dc.contributor.supervisorMacKenzie, Scott
dc.contributor.supervisorKibbins, Gary
dc.contributor.departmentFilm and Media (Screen Cultures and Curatorial Studies)en
dc.embargo.termsI request this be restricted so that I can re-work and publish a portion of it in an academic journal.en
dc.embargo.liftdate2025-10-29T16:05:06Z
dc.degree.grantorQueen's University at Kingstonen


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