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"Kappelhoff, Hermann, author"
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Front lines of community : Hollywood between war and democracy
Based on the premise that a society?s sense of commonality depends upon media practices, this study examines how Hollywood responded to the crisis of democracy during the Second World War by creating a new genre - the war film. Developing an affective theory of genre cinema, the study?s focus on the sense of commonality offers a new characterization of the relationship between politics and poetics. It shows how the diverse ramifications of genre poetics can be explored as a network of experiential modalities that make history graspable as a continuous process of delineating the limits of community.
Book
The politics and poetics of cinematic realism
Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society.
Kappelhoff applies the Deleuzean practice of \"thinking in images\" to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience.
eBook
Cinematic metaphor : experience, affectivity, temporality
Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research. The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of information. Cinematic Metaphor proposes an alternative: starting from film images as affective experience of movement-images, it replaces the cognitive idea of viewers as information-processing machines, and heals the break with rhetoric established by conceptual metaphor theory. Subscribing to a phenomenological concept of embodiment, a shared vantage point for metaphorical meaning-making in film-viewing and face-to-face interaction is developed. The book offers a critique of cognitive film and metaphor theories and a theory of cinematic metaphor as performative action of meaning-making, grounded in the dynamics of viewers' embodied experiences with a film. Fine-grained case studies ranging from Hollywood to German feature film and TV news, from tango lesson to electoral campaign commercial, illustrate the framework?s application to media and multimodality analysis.
Book