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Cinéma sauvage. Das Wilde Denken im Film: Der Film zwischen domestiziertem Kulturgut und Derivat des wilden Denkens

Cinéma sauvage. Das Wilde Denken im Film: Der Film zwischen domestiziertem Kulturgut und Derivat des wilden Denkens

          
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About the Book

Magisterarbeit aus dem Jahr 2010 im Fachbereich Filmwissenschaft, Note: 1,7, Ludwig-Maximilians-Universität München (Ethnologie und Afrikanistik), Sprache: Deutsch, Abstract: Anspruch der vorliegenden Arbeit ist es, die Existenz des wilden Denkens in unserer Kultur überhaupt und dazu in einem so publikumswirksamem massentauglichen Medium wie Film nachzuweisen und durch die Verortung in der Kunst seine Gleichwertung mit domestiziertem Denken hervorzuheben. Das führt weiter zu der Frage, ob eine Dialektik des wilden Denkens, ein Umschlagen des domestizierten Denkens in wildes Denken, im Sinne einer Dialektik der Aufklärung nach Horkheimer und Adorno, universal essentiell ist und die Lévi-Strauss bereits andeutete durch die Verortung der Kunst als Zwischenstellung. Die Absicht, welche die vorliegende Untersuchung verfolgt, ist daher nicht, den Nachweis für absolute Kongruenz des wilden Denkens und der Filmlogik zu erbringen. Ziel ist es vielmehr, in einem modernen Medium wie Film Analogien zum Konzept des wilden Denkens aufzuzeigen, wie sie für Musik und Malerei an einigen Stellen bereits vollzogen wurden, und so das Medium unter einem anderen Blickwinkel zu beleuchten. Und dabei gleichzeitig darzulegen, dass das wilde Denken, welches häufig als unwissenschaftlich-primitive Form der Logik assoziiert wird, auch in den Gesellschaften des domestizierten Denkens noch wirksam ist. Die Frage, der in dieser Arbeit nachgegangen werden soll, ist zweifacher Art. Zum einen, in welchem Maße sich das Konzept des wilden Denkens auf Film als Kunstform beziehen lässt und wo im Film wildes Denken zu verorten ist. Das bedeutet zu fragen, ob die Denkstruktur, die dem Film zu Grunde liegt, dem wilden Denken analog ist. Die Parallelen des wilden Denkens, die bereits von Lévi-Strauss selbst wie auch weiteren Theoretikern, insbesondere Boris Wiseman, zur Theorie der Ästhetik gezogen wurde, werden also auf ihre Übertragbarkeit auf Film überprüft und vollzogen. Eine weitere Ebene des Filmis


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Product Details
  • ISBN-13: 9783668171015
  • Publisher: Grin Publishing
  • Binding: Paperback
  • Language: German
  • Returnable: N
  • Spine Width: 7 mm
  • Weight: 159 gr
  • ISBN-10: 3668171017
  • Publisher Date: 16 Mar 2016
  • Height: 210 mm
  • No of Pages: 112
  • Series Title: German
  • Sub Title: Der Film zwischen domestiziertem Kulturgut und Derivat des wilden Denkens
  • Width: 148 mm


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Cinéma sauvage. Das Wilde Denken im Film: Der Film zwischen domestiziertem Kulturgut und Derivat des wilden Denkens
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Cinéma sauvage. Das Wilde Denken im Film: Der Film zwischen domestiziertem Kulturgut und Derivat des wilden Denkens
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