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"With Skin and Hair": Kracauer's Theory of Film, Marseille 1940

1993; University of Chicago Press; Volume: 19; Issue: 3 Linguagem: Inglês

10.1086/448682

1539-7858

Miriam Hansen,

Art, Politics, and Modernism

Previous articleNext article No Access"With Skin and Hair": Kracauer's Theory of Film, Marseille 1940Miriam HansenMiriam Hansen Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 19, Number 3Spring, 1993 Article DOIhttps://doi.org/10.1086/448682 Views: 38Total views on this site Citations: 61Citations are reported from Crossref Copyright 1993 The University of ChicagoPDF download Crossref reports the following articles citing this article:Jeff Fort André Bazin's Eternal Returns: An Ontological Revision, Film-Philosophy 25, no.11 (Feb 2021): 42–61.https://doi.org/10.3366/film.2021.0156Xuelian He Aggressive Reader and Submissive Spectator: A Revision of Self-Redescription, The European Legacy 25, no.22 (Oct 2019): 154–166.https://doi.org/10.1080/10848770.2019.1665916Nick Jones The Perpetual Motion Aesthetic of Action Cinema, (Feb 2019): 97–117.https://doi.org/10.1002/9781119100744.ch5Lucy Fife Donaldson Surface Contact: Film Design as an Exchange of Meaning, Film-Philosophy 22, no.22 (Jun 2018): 203–221.https://doi.org/10.3366/film.2018.0073Ana Dragojlović Knowing the past affectively: Screen media and the evocation of intergenerational trauma, Arts and Humanities in Higher Education 17, no.11 (Jan 2018): 119–133.https://doi.org/10.1177/1474022217732870Till van Rahden , ( 2018): 255.https://doi.org/10.1007/978-3-658-20477-8_9Steven Jacobs, Hilde D'haeyere Frankfurter Slapstick: Benjamin, Kracauer, and Adorno on American Screen Comedy, October 160 (Jun 2017): 30–50.https://doi.org/10.1162/OCTO_a_00290Tanja Prokić Siegfried Kracauer (1889 – 1966), (Sep 2016): 197–214.https://doi.org/10.1007/978-3-658-01455-1_9Matthew Handelman Physical Redemption. Psychophysics, Messianism, and the Origins of Kracauer’s Theory of Film, (Oct 2016): 239–257.https://doi.org/10.1007/978-3-658-13239-2_13Johannes Geng Das Direct Cinema als Zäsur in der Medienkulturgeschichte des Sehens, (Nov 2016): 85–99.https://doi.org/10.1007/978-3-658-14698-6_4Alison Landsberg Politics and the Historical Film, (Feb 2013): 9–29.https://doi.org/10.1002/9781118322673.ch1Mike Wayne Transcoding Kant: Kracauer’s Weimar Marxism and After *, Historical Materialism 21, no.33 (Jan 2013): 57–85.https://doi.org/10.1163/1569206X-12341303Emma Widdis Socialist Senses: Film and the Creation of Soviet Subjectivity, Slavic Review 71, no.33 (Jan 2017): 590–618.https://doi.org/10.5612/slavicreview.71.3.0590Julia Vassilieva Sergei Eisenstein's ¡Qué viva México! through time: Historicizing value judgement, Continuum 24, no.55 (Oct 2010): 693–705.https://doi.org/10.1080/10304312.2010.505336Barbara Hales Taming the Technological Shrew: Woman as Machine in Weimar Culture, Neophilologus 94, no.22 (Oct 2009): 301–316.https://doi.org/10.1007/s11061-009-9177-5Martine Beugnet, Elizabeth Ezra Traces of the modern: an alternative history of French cinema, Studies in French Cinema 10, no.11 (Mar 2010): 11–38.https://doi.org/10.1386/sfc.10.1.11/1 Introduction, (Jan 2009): 1–14.https://doi.org/10.1215/9780822390749-001 Authentic Ruins, (Jan 2009): 17–28.https://doi.org/10.1215/9780822390749-002 Air War and Architecture, (Jan 2009): 29–40.https://doi.org/10.1215/9780822390749-003 Modernism and Destruction in Architecture, (Jan 2009): 41–57.https://doi.org/10.1215/9780822390749-004 Ruins of the Avant-Garde, (Jan 2009): 58–85.https://doi.org/10.1215/9780822390749-005Andreas Schönle Modernity as a “Destroyed Anthill”, (Jan 2009): 89–103.https://doi.org/10.1215/9780822390749-006Russell A. Berman Democratic Destruction, (Jan 2009): 104–117.https://doi.org/10.1215/9780822390749-007Jonathan Bolton The Ruins of a Republic, (Jan 2009): 118–132.https://doi.org/10.1215/9780822390749-008Amir Eshel Layered Time, (Jan 2009): 133–150.https://doi.org/10.1215/9780822390749-009Lucia Saks Cities, Citizenship, and other Joburg Stories, (Jan 2009): 151–165.https://doi.org/10.1215/9780822390749-010Julia Hell Imperial Ruin Gazers, or Why Did Scipio Weep?, (Jan 2009): 169–192.https://doi.org/10.1215/9780822390749-011Todd Samuel Presner Hegel’s Philosophy of World History via Sebald’s Imaginary of Ruins, (Jan 2009): 193–211.https://doi.org/10.1215/9780822390749-012Jon Beasley-Murray Vilcashuamán, (Jan 2009): 212–231.https://doi.org/10.1215/9780822390749-013Daniel Herwitz The Monument in Ruins, (Jan 2009): 232–243.https://doi.org/10.1215/9780822390749-014Rahul Mehrotra Simultaneous Modernity, (Jan 2009): 244–249.https://doi.org/10.1215/9780822390749-015Helmut Puff Ruins as Models, (Jan 2009): 253–269.https://doi.org/10.1215/9780822390749-016Kerstin Barndt “Memory Traces of an Abandoned Set of Futures”, (Jan 2009): 270–293.https://doi.org/10.1215/9780822390749-017 Colonial Melancholy and Fordist Nostalgia, (Jan 2009): 294–320.https://doi.org/10.1215/9780822390749-018 Dr. Strangelove’s Cabinet of Wonder, (Jan 2009): 321–338.https://doi.org/10.1215/9780822390749-019 Invisible at a Glance, (Jan 2009): 339–353.https://doi.org/10.1215/9780822390749-020 Foundational Ruins, (Jan 2009): 357–374.https://doi.org/10.1215/9780822390749-021 The Promise of a Ruin, (Jan 2009): 375–394.https://doi.org/10.1215/9780822390749-022 Ruin Cinema, (Jan 2009): 395–417.https://doi.org/10.1215/9780822390749-023 The Place of Rubble in the Trümmerfilm, (Jan 2009): 418–438.https://doi.org/10.1215/9780822390749-024 Lost in Time, (Jan 2009): 439–457.https://doi.org/10.1215/9780822390749-025 Bibliography, (Jan 2009): 459–487.https://doi.org/10.1215/9780822390749-026Ulrike Weckel Does Gender Matter? Filmic Representations of the Liberated Nazi Concentration Camps, 1945-46, Gender History 17, no.33 (Nov 2005): 538–566.https://doi.org/10.1111/j.0953-5233.2005.00396.xIvone Margulies Bodies Too Much, (Jan 2003): 1–23.https://doi.org/10.1215/9780822384618-001André Bazin, Translated by Mark A. Cohen Death Every Afternoon, (Jan 2003): 27–31.https://doi.org/10.1215/9780822384618-003Serge Daney, Translated by Mark A. Cohen The Screen of Fantasy (Bazin and Animals), (Jan 2003): 32–41.https://doi.org/10.1215/9780822384618-004Philip Rosen History of Image, Image of History, (Jan 2003): 42–79.https://doi.org/10.1215/9780822384618-005 The Object of Theory, (Jan 2003): 80–89.https://doi.org/10.1215/9780822384618-006 No Longer Absolute, (Jan 2003): 93–118.https://doi.org/10.1215/9780822384618-008 In Search of the Real City, (Jan 2003): 119–143.https://doi.org/10.1215/9780822384618-009 Private Reality, (Jan 2003): 144–163.https://doi.org/10.1215/9780822384618-010 Mike Leigh’s Modernist Realism, (Jan 2003): 164–184.https://doi.org/10.1215/9780822384618-011 Why Is This Absurd Picture Here? Ethnology/Heterology/Buñuel, (Jan 2003): 185–214.https://doi.org/10.1215/9780822384618-012 Exemplary Bodies, (Jan 2003): 217–244.https://doi.org/10.1215/9780822384618-014 Pasolini on Terra Sancta, (Jan 2003): 245–269.https://doi.org/10.1215/9780822384618-015 Ecstatic Ethnography, (Jan 2003): 270–293.https://doi.org/10.1215/9780822384618-016 Filmic Tableau Vivant, (Jan 2003): 294–314.https://doi.org/10.1215/9780822384618-017 Dreyer’s Textual Realism, (Jan 2003): 315–324.https://doi.org/10.1215/9780822384618-018 Selected Bibliography, (Jan 2003): 325–332.https://doi.org/10.1215/9780822384618-019 Contributors, (Jan 2003): 333–335.https://doi.org/10.1215/9780822384618-020ALISON LANDSBERG Prosthetic Memory: Total Recall and Blade Runner, Body & Society 1, no.3-43-4 (Nov 1995): 175–189.https://doi.org/10.1177/1357034X95001003010