Robert Sinnerbrink

The relationship between film and philosophy, along with the idea of film as philosophy, has attracted widespread interest over the last decade. Film theorists and philosophers of film have explored not only the philosophical questions raised by cinema as an artform, but also the possibility that cinema might contribute to philosophical understanding or even engage in varieties of “cinematic thinking” that intersect with, without being reducible to, philosophical inquiry. Inspired by the work of Gilles Deleuze and Stanley Cavell, many theorists are now engaged in what has come to be known as “film-philosophy,” developing philosophical insight out of their close engagement with film, and bringing philosophical...

This article explores the Hegelian ‘night of the world’ that plays such an important role in Žižek’s theorisation of the subject. In the first part, I examine how the themes of the “pre-synthetic imagination” and “abstract negativity" are crucial to understanding Žižek’s theorisation of the Hegelian subject. In the second part, I consider how this Hegelian model of the subject is decisive for understanding Žižek’s conception of Hegelian “concrete universality,” and how the latter concept figures prominently in Žižek’s analysis of the relationship between the abstract negativity of the subject and the political question of confronting global capitalism. Žižek’s unorthodox reading of the Hegelian ‘night of the world’—the radical negativity that haunts subjectivity—is developed further in an explicitly political direction. This Hegelian theme helps explain Žižek’s recent critique of the ‘Fukuyamaian’ consensus, shared both by moral-religious conservatives and libertarian ‘postmodernists’, that global capitalism remains the ‘unsurpassable horizon of our times’. In conclusion I raise some questions about Žižek’s combining of abstract and determinate negation in his ‘romantic’ reading of the negativity of the Hegelian subject. I then critically examine the implications Žižek draws from this analysis in In Defense of Lost Causes , which presents a sustained argument to reclaim the revolutionary tradition of Leftist politics

This essay seeks to further the critical reception of Stiegler's philosophy of technology by situating his work within the legacy of critical theory and deconstruction. Drawing on what Richard Beardsworth has described as Stiegler's 'Left-Derrideanism'-his radical re-thinking of the problem of technics and related call for a "politics of memory"-I argue that Stiegler's transformation of both Heidegger and Derrida retrieves and renews the interrupted Frankfurt school tradition of culture industry critique. What we might call Stiegler's 'deconstructive materialism' reinvigorates the project of a cultural politics that would take place in the intersection between culture, technics, and politics in the more conventional sense. In this respect, Stiegler's culture industry redux points to a number of important practical cultural responses to the debilitating malaise that increasingly afflicts politics in liberal capitalist democracies. I conclude by suggesting what such a Stieglerian 'cultural politics of memory' might entail.