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In Selfless Cinema Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined on largely legalistic terms, dominated by issues of consent, responsibility, and participantsÆ or film-makers' rights, but Cooper approaches four representative French film-makers - Jean Rouch, Chris Marker, Raymond Depardon, and Agnes Varda - in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinas's iconoclastic, anti-ocular thinking, his concept of visage is richly applicable to film, and especially to documentary.
In Selfless Cinema Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined
Drawing on the work of contemporary French philosopher Jean-Luc Nancy, Cinema and Contact investigates the aesthe-tics and politics of touch in the cinema of th
Cinema and Language Loss provides the first sustained exploration of the relationship between linguistic displacement and visuality in the filmic realm, examini
Cinematic Encounters with Disaster takes Hollywood's disaster movies and their codified versions of natural disaster, post-apocalyptic survival, and extra-terre
Cinema and Secularism is the first collection to make the relationship between cinema and secularism thematic, utilizing a number of different methodological ap