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The Fright of Real Tears: Krzysztof Kieślowski Between Theory and Post-Theory is a 2001 book by the Slovenian philosopher Slavoj Žižek which uses free associative film interpretation to tangentially examine the films of Polish director Krzysztof Kieślowski while avoiding the debate between cognitive film theory and psychoanalytic ...
- Slavoj Zizek
- 240
- 2001
- 2001
22. Juni 2020 · The fright of real tears : Krzysztof Kieślowski between theory and post-theory : Žižek, Slavoj : Free Download, Borrow, and Streaming : Internet Archive. by. Žižek, Slavoj. Publication date. 2001. Topics. Kieślowski, Krzysztof, 1941- -- Criticism and interpretation, Film criticism. Publisher. London : BFI Pub. Collection.
2. The fright of (those) real tears. But what about Kieslowski (and his films), in a book which states so clearly that it's aim is ‘not to talk about his work’? The book's title, The Fright of Real Tears, is derived from the director's explanation -- in conversation with Danusia Stok -- for his move from documentaries to feature films:
- Richard Stamp
- 2003
1. Dez. 1999 · The Fright of Real Tears: Krzysztof Kieślowski between Theory and Post-Theory. Slavoj Žižek. 3.84. 99 ratings5 reviews. Film theory is in crisis. The dominant psychoanalytical paradigm is contested by cognitive models and post-theory.
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- Hardcover
1. Dez. 1999 · The Fright of Real Tears. Slavoj Žižek. Bloomsbury Academic, Dec 1, 1999 - Art - 240 pages. Theory in film studies, as elsewhere, is in crisis. The once-dominant psychoanalytic paradigm...
- Slavoj Žižek
- Bloomsbury Academic, 1999
- illustrated, reprint
- The Fright of Real Tears
29. März 2016 · The Fright of Real Tears: Krzystof Kieslowski between Theory and Post-Theory The Strange Case of the Missing Lacanians If this book had been published twenty-five years ago, in the heyday of ‘structuralist Marxism’, its subtitle, undoubtedly, would have been ‘On Class Struggle in Cinema’.
The Fright of Real Tears Paperback – 1. April 2001. Englisch Ausgabe von Slavoj Zizek (Autor) 1. Alle Formate und Editionen anzeigen. In this study the author challenges both cognitivist-historicist accounts of cinema and conventional film-theory, arguing that the reading of Lacan operative in the 1970s and 1980s was particularly reductive.
