Katerina Kolozova: Toward a Radical Metaphysics of Socialism: Marx and Laruelle (2015)

“Marx’s rigorously descriptive language unravels the radical core of capitalist economic processes and, through that unraveling, also reveals capitalism’s necessary exploitation and subjugation of human labor. Toward a Radical Metaphysics of Socialism attempts to recuperate and emancipate the notion of metaphysics in this scenario by virtue of radicalizing thought’s encounter with the Real. Kolozova argues that this metaphysical drama is at the origin of the social and economic injustices of contemporary global economic-political realities, and she illustrates this state of affairs in discussions of the problem of wage labor, automated speculation as the core of late capitalism, the post-2008 financial crisis, the status of technology in late capitalism, sexual difference and gender, and the human and non-human body’s subjugation capitalist automation.”

Publisher Punctum Books, Brooklyn/New York, August 2015
Creative Commons BY-NC-SA 4.0 License
ISBN 0692492410, 9780692492413
116 pages

Interview with author by Troy O’Neill
Publisher

PDF

Scott MacKenzie (ed.): Film Manifestos and Global Cinema Cultures: A Critical Anthology (2014)

“This is the first book to collect manifestos from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focusing equally on political and aesthetic manifestos, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world.

This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI’s Vigilanti Cura, which nevertheless played a central role in film culture.”

Publisher University of California Press, 2014
ISBN 0520276744, 9780520276741
xxi+651 pages
via slowrotation

Author’s talk (video, 2017, 20 min).

Reviews: Wheeler Winston Dixon (Film International), Matthew Hunt, Bill Nichols (Film Quarterly).

Publisher
WorldCat

PDF, PDF (updated on 2019-7-14)

Bad Object-Choices (eds.): How Do I Look? Queer Film And Video (1991)

“The papers and discussions published here comprise the proceedings of a conference held at Anthology Film Archives in New York City, October 1989, organized by Bad Object-Choices, a reading group formed in the spring of 1987 to address questions of gay and lesbian theory. The proceedings were edited by the following group members: Terri Cafaro, Jean Carlomusto, Douglas Crimp, Martha Gever, Tom Kalin, and Jeff Nunokawa.” (from the Preface)

The publication was prepared as a special issue of October journal, but ultimately rejected by the editors; and further delayed as more than twenty printers refused to print the book–at issue were images in the Patton, Mercer, and Fung essays. It was eventually printed in Germany. (see interview with Douglas Crimp and p. 10)

With essays by Cindy Patton, Stuart Marshall, Judith Mayne, Richard Fung, Kobena Mercer, and Teresa de Laurentis.

Publisher Bay Press, Seattle, WA, 1991
ISBN 0941920208
295 pages

Reviews: Jennifer A. Machiorlatti (Journal of Film and Video, 1993), Thomas Dukes (Journal of the History of Sexuality, 1994), Lauri Mullens (Int’l Gay & Lesbian Review).

WorldCat

PDF (65 MB, no OCR)