Jacques Ranciere Libros

El cine sólo existe acaso bajo la forma de un sistema de distancias entre cosas que llevan el mismo nombre sin ser miembros de un mismo cuerpo. Es el lugar material donde nos conmovemos ante el espectáculo de las sombras. Es también el nombre de un arte constituido como tal por la pasión cinéfila, que borra las fronteras entre el arte y la diversión. Fue, en un tiempo, la utopía de una escritura del movimiento que uniera el trabajo, el arte y la vida colectiva. Aún es, a veces, el sueño siempre desengañado de una lengua de las imágenes. Jacques Rancière estudia algunas formas ejemplares de esas distancias: el cine toma las ficciones de la literatura, borrando sus imágenes y su filosofía. Rechaza el teatro, pero a costa de cumplir su sueño. Regula el paso de la emoción de las historias al puro placer de la actuación o da más peso a los cuerpos para mostrarnos el pensamiento en acción. Expone al mismo tiempo la capacidad política de todos y su propio poder de transformar sus manifestaciones en fuegos de artificio o en formas que se disipan como ondas en la superficie del agua.

A leading radical thinker reflects on the state of contemporary politics--

Rethinking the role of the radical public intellectual

The foremost philosopher of art argues for a new politics of looking

Returning politics to its original and necessary meaning: the organization of dissent

From Almanac of Fall (1984) to The Turin Horse (2011), renowned Hungarian filmmaker B la Tarr has followed the collapse of the communist promise. The time after is the time when we are less interested in histories and their successes or failures than we are in the delicate fabric of time from which they are carved.

Composed in a series of scenes, Aisthesis–Rancière’s definitive statement on the aesthetic–takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarmé to the Folies-Bergère, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Rancière uses these sites and events—some famous, others forgotten—to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the specificities of the different arts, as well as the borders that separated them from ordinary experience. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.

The first English translation of Jacques Ranciere's first book, in which he explores and begins to move beyond the thought of his mentor, Louis Althusser.

Aiming to rethink the relation between art and politics, this title seeks to reclaim aesthetics from its contemporary narrow confines to reveal its significance for contemporary experience. It ranges across art and politics, the uses and abuses of modernity, the role of visual technologies, and the relationship between history and fiction.

The critique of modernist ideology from France's leading radical theorist