{"title":"A Pharmacology of Cinema","authors":"Amelie Berger Soraruff","doi":"10.1215/17432197-8947907","DOIUrl":null,"url":null,"abstract":"\n French philosopher Bernard Stiegler inscribes himself in the tradition of critical theory. In this respect, the influence of Adorno and Horkheimer has been crucial to the development of his own understanding of cinema. Yet Stiegler reproaches his predecessors for not having stressed enough the positive virtues of cinema on culture. For Stiegler the industry of cinema is not simply a menace to the human mind, but a positive medium for its reinvention. It is in that sense that cinema is pharmacological, insofar as it can be either spiritually and culturally enhancing or destructive, depending on how it is acted on. As the article concludes, Stiegler's pharmacology of cinema invites us to take part in our cinematic cultural becoming through the revival of the figure of the amateur. But it does so at the risk of cultural snobbery. While Stiegler does not condemn the cinematic medium per se, he does express clear reservations on the potential of commercial cinema, the pharmacological critique of which remains to be thought.","PeriodicalId":35197,"journal":{"name":"Cultural Politics","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cultural Politics","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1215/17432197-8947907","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Social Sciences","Score":null,"Total":0}
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Abstract
French philosopher Bernard Stiegler inscribes himself in the tradition of critical theory. In this respect, the influence of Adorno and Horkheimer has been crucial to the development of his own understanding of cinema. Yet Stiegler reproaches his predecessors for not having stressed enough the positive virtues of cinema on culture. For Stiegler the industry of cinema is not simply a menace to the human mind, but a positive medium for its reinvention. It is in that sense that cinema is pharmacological, insofar as it can be either spiritually and culturally enhancing or destructive, depending on how it is acted on. As the article concludes, Stiegler's pharmacology of cinema invites us to take part in our cinematic cultural becoming through the revival of the figure of the amateur. But it does so at the risk of cultural snobbery. While Stiegler does not condemn the cinematic medium per se, he does express clear reservations on the potential of commercial cinema, the pharmacological critique of which remains to be thought.
期刊介绍：
Cultural Politics is an international, refereed journal that explores the global character and effects of contemporary culture and politics. Cultural Politics explores precisely what is cultural about politics and what is political about culture. Publishing across the arts, humanities, and social sciences, the journal welcomes articles from different political positions, cultural approaches, and geographical locations. Cultural Politics publishes work that analyzes how cultural identities, agencies and actors, political issues and conflicts, and global media are linked, characterized, examined, and resolved. In so doing, the journal supports the innovative study of established, embryonic, marginalized, or unexplored regions of cultural politics. Cultural Politics, while embodying the interdisciplinary coverage and discursive critical spirit of contemporary cultural studies, emphasizes how cultural theories and practices intersect with and elucidate analyses of political power. The journal invites articles on representation and visual culture; modernism and postmodernism; media, film, and communications; popular and elite art forms; the politics of production and consumption; language; ethics and religion; desire and psychoanalysis; art and aesthetics; the culture industry; technologies; academics and the academy; cities, architecture, and the spatial; global capitalism; Marxism; value and ideology; the military, weaponry, and war; power, authority, and institutions; global governance and democracy; political parties and social movements; human rights; community and cosmopolitanism; transnational activism and change; the global public sphere; the body; identity and performance; heterosexual, transsexual, lesbian, and gay sexualities; race, blackness, whiteness, and ethnicity; the social inequalities of the global and the local; patriarchy, feminism, and gender studies; postcolonialism; and political activism.
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