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This article juxtaposes two 2011 Hollywood films—Shame, directed by Steve McQueen, and Drive, directed by Nicolas Winding Refn—that in their mutations of narrative time and cinematic montage demonstrate the ongoing salience of Fredric Jameson's Marxist analysis of postmodern culture for the aesthetic and social form of contemporary Hollywood cinema. What Jameson in Postmodernism called the atemporal "waning of affect" is hyperbolically exposed in both films, which are linked by their formal emphasis on accumulation, repetition, and looping. This late capitalist regime of accumulation and excess takes the form of a cinematic drive that no longer hews to a narrative temporality but, rather, appears as exactly the hallucinatory intensity of an overwhelming present that Jameson described. For this reason, the films dispense with beginnings and endings; through modulations of filmic time, they return to the stasis of an eternal "posthistorical" present. Drive and Shame both end with montage sequences in which flashbacks and flash-forwards are rendered indistinguishable. Exploring this emphasis on sameness and repetition, the article takes up the psychoanalytic notion of the drive in relation to Jameson's argument about the waning of affect.

Towards a Political Aesthetics of Cinema: The Outside of Film is a contribution to an aesthetics of cinema rooted in Marxist theory. Rather than focusing on the role that certain films, or the cinema as an institution, might play in political consciousness, the book asks a different question: how can the subject of politics in film be thought? This problem is presented in a systematic-theoretical rather than historical manner. The main aim of this book is a retrospective rehabilitation of the psychoanalytical concept of "suture," whose political core is progressively revealed. In a second step, this rereading of "suture"-theory is mediated with the Marxist aesthetics of Fredric Jameson. From the perspective of this reconfigured aesthetics of negativity, films by Hitchcock, Antonioni, Haneke and Kubrick are analyzed as articulations of a political unconscious.

Das Kino hat in seiner Geschichte unterschiedliche Adressierungen des Publikums ausgebildet. »Einstellungen der Öffentlichkeit. Filmische Konfigurationen von ›Ich‹ und ›Wir‹« widmet sich diesem Phänomen im Spannungsfeld von ästhetischen und gesellschaftstheoretischen Fragestellungen und aus der Perspektive einer ausdifferenzierten medialen Gegenwart. Im Zentrum der Tagung steht die Wechselwirkung zwischen dem einzelnen »Ich«, das – stark zugespitzt – für Subjektivität, Affekt und Wahrnehmung des individuellen Zuschauers steht, und dem sozialen »Wir« des Massenmediums Film, dem sich verschiedene Utopien in Kunst und Politik seit den 1920er Jahren stets aufs Neue gewidmet haben. The event, like all events at the ICI Berlin, is open to the public, free of charge. The audience is presumed to consent to a possible recording on the part of the ICI Berlin. If you would like to attend the event yet might require assistance, please contact Event Management.Throughout its history, cinema has developed different modes of addressing spectators. Incorporating approaches from aesthetic and social theory, »Perspectives on the Public Sphere: Cinematic Configurations of ›I‹ and ›We‹« investigates the public sphere in the context of the complex state of contemporary media. More specifically, the conference will focus on the reciprocity between the individual »I«, which can — to simplify matters somewhat — stand for subjectivity, affect, and the individual spectator's perception, and the social »we« of film as a mass medium, which has frequently been the focus of various utopias and theories at the intersection of politics and aesthetics since the 1920s. Mit Unterstützung des ICI BerlinThe event, like all events at the ICI Berlin, is open to the public, free of charge. The audience is presumed to consent to a possible recording on the part of the ICI Berlin. If you would like to attend the event yet might require assistance, please contact Event Management. ; Einstellungen der Öffentlichkeit: Filmische Konfigurationen von »Ich« ...