• Acknowledgments Notes on Contributors Introduction, by Ido Lewit and Shai Biderman Part I. The Cinematic Kafka Kafka, Rumour, Early Cinema: Archaic Moving Pictures, by Paul North Sebald Goes to the Movies: Reading Kafka as Cinematography, by Nimrod Matan The Ghost Is Clear: The POV of the Daydreamer, by Laurence A. Rickels Moving Pictures-Visual Pleasures: Kafka's Cinematic Writing, by Peter Beicken To Move as the Image Moves: The Rule of Rhythmic Presence and Absence in Kafka's The Man Who Disappeared, by Tobias Kuehne Noises Off: Cinematic Sound in Kafka's 'The Burrow', by Kata Gellen Gesture, Wardrobe, Backdrop and Prop in Franz Kafka's The Man Who Disappeared and Peter Weir's The Truman Show, by Idit Alphandary The Possibility of the Cinematic in 'The Metamorphosis' and 'The Burrow', by Kevin W. Sweeney Part II. The Kafkaesque Cinema 'The Essential Is Sufficient': The Kafka Adaptations of Orson Welles, Straub-Huillet and Michael Haneke, by Martin Brady and Helen Hughes K., the Tramp, and the Cinematic Vision: The Kafkaesque Chaplin, by Shai Biderman 'The Medium Is the Message': Cronenberg 'Outkafkas' Kafka, by Iris Bruce The Absurdity of Human Existence: 'The Metamorphosis' and The Fly, by William J. Devlin and Angel M. Cooper 'This Is Not Nothing': Viewing the Coen Brothers Through the Lens of Kafka, by Ido Lewit The Face: K. and Keaton, by Omri Ben-Yehuda Translating Kafka into Italian: Kafkaesque Themes in Eilo Petri's Films, by Fernando Gabriel Pagnoni Berns and Leonardo Acosta Lando Epilogue: A Personal Quest Into the Cinematic Kafkaesque Magic, Mystery and Miracle: Re-spiralling Marker and Kafka, by Dan Geva Transcribing Kafka Into Film: A Tortuous Love-Story, by Henry Sussman Index.
• (source: Nielsen Book Data)

The idea of a visual manifestation of the work of Franz Kafka was denied by many-first and foremost by Kafka himself, who famously urged his publisher to avoid an image of an insect on the cover of Metamorphosis. Be that as it may, it is unlikely that such a central progenitor of twentieth-century art and thought as Kafka can be fully understood without reference to the revolutionary artistic medium of his century: cinema. Mediamorphosis compiles articles by some of today's leading forces in the scholarship of Kafka as well as film studies to provide a thorough investigation of the reciprocal relations between Kafka's work and the cinematic medium. The volume approaches the theoretical integration of Kafka and cinema via such issues as the cinematic qualities in Kafka's prose and the possibility of a visual manifestation of the Kafkaesque. Alongside these debates, the book investigates the capacity of cinema to incorporate and express the unique qualities of a Kafkaesque world through an analysis of cinematic adaptations of Kafka's prose, such as Michael Haneke's The Castle (1997) and Straub-Huillet's Class Relations (1984), as well as films that carry a more subtle relation to Kafka's oeuvre, such as the cinematic works of David Cronenberg, the films of the Coen brothers, Chris Marker's "film-essay, " Charlie Chaplin's tramp, and others.
(source: Nielsen Book Data)

• Acknowledgements List of Illustrations Notes on Contributors
• Introduction Shai Biderman and Michael Weinman
• Part 1: From Plato to the Moving Image: Reorienting Film-Philosophy
• 1 Accounting for Images in the Sophist Abraham Jacob Greenstine
• 2 Pseudos, Kalos and Eikos Mythos in Plato and Film Danielle A. Layne and Erik W. Schmidt
• 3 Dead Ringers: Plato and Turning the Camera Back Timothy Secret
• 4 The Cinematic Image as Platonic Simulacrum Jorge Tomas Garcia
• 5 The Myth of Er as Rationalizing Recording Device Michael Weinman
• Part 2: From the Moving Image to Plato: Reorienting Plato Studies
• 6 Learning to Notice: Light and Shadow, from Chauvet Cave to Plato's Cave and Beyond Paul A. Kottman
• 7 Phaedo: a Ghost Story David McNeill
• 8 Fascism Re-performed: Benjaminian Mimesis, Platonic Methexis and Bertolucci's The Conformist Adrian Switzer
• 9 Entranced by the Spectacle of Truth: Wonder and Ascent in Plato and Terrence Malick's Knight of Cups and To the Wonder David H. Calhoun
• 10 Plato, Pleonexia and Environmental Documentaries Michael Forest
• 11 Truth, Reality and Fiction in the Documentary of Errol Morris: Refiguring `Platonism' in Epistemology and Aesthetics Shai Biderman
• Index.
• (source: Nielsen Book Data)

This book shows how and why debates in the philosophy of film can be advanced through the study of the role of images in Plato's dialogues, and, conversely, why Plato studies stands to benefit from a consideration of recent debates in the philosophy of film. Contributions range from a reading of Phaedo as a ghost story to thinking about climate change documentaries through Plato's account of pleonexia. They suggest how philosophical aesthetics can be reoriented by attending anew to Plato's deployment of images, particularly images that move. They also show how Plato's deployment of images is integral to his practice as a literary artist. Contributors are Shai Biderman, David Calhoun, Michael Forest, Jorge Tomas Garcia, Abraham Jacob Greenstine, Paul A. Kottman, Danielle A. Layne, David McNeill, Erik W. Schmidt, Timothy Secret, Adrian Switzer, and Michael Weinman.
(source: Nielsen Book Data)

• Acknowledgments Notes on Contributors Introduction, by Ido Lewit and Shai Biderman Part I. The Cinematic Kafka Kafka, Rumour, Early Cinema: Archaic Moving Pictures, by Paul North Sebald Goes to the Movies: Reading Kafka as Cinematography, by Nimrod Matan The Ghost Is Clear: The POV of the Daydreamer, by Laurence A. Rickels Moving Pictures-Visual Pleasures: Kafka's Cinematic Writing, by Peter Beicken To Move as the Image Moves: The Rule of Rhythmic Presence and Absence in Kafka's The Man Who Disappeared, by Tobias Kuehne Noises Off: Cinematic Sound in Kafka's 'The Burrow', by Kata Gellen Gesture, Wardrobe, Backdrop and Prop in Franz Kafka's The Man Who Disappeared and Peter Weir's The Truman Show, by Idit Alphandary The Possibility of the Cinematic in 'The Metamorphosis' and 'The Burrow', by Kevin W. Sweeney Part II. The Kafkaesque Cinema 'The Essential Is Sufficient': The Kafka Adaptations of Orson Welles, Straub-Huillet and Michael Haneke, by Martin Brady and Helen Hughes K., the Tramp, and the Cinematic Vision: The Kafkaesque Chaplin, by Shai Biderman 'The Medium Is the Message': Cronenberg 'Outkafkas' Kafka, by Iris Bruce The Absurdity of Human Existence: 'The Metamorphosis' and The Fly, by William J. Devlin and Angel M. Cooper 'This Is Not Nothing': Viewing the Coen Brothers Through the Lens of Kafka, by Ido Lewit The Face: K. and Keaton, by Omri Ben-Yehuda Translating Kafka into Italian: Kafkaesque Themes in Eilo Petri's Films, by Fernando Gabriel Pagnoni Berns and Leonardo Acosta Lando Epilogue: A Personal Quest Into the Cinematic Kafkaesque Magic, Mystery and Miracle: Re-spiralling Marker and Kafka, by Dan Geva Transcribing Kafka Into Film: A Tortuous Love-Story, by Henry Sussman Index.
• (source: Nielsen Book Data)

The idea of a visual manifestation of the work of Franz Kafka was denied by many-first and foremost by Kafka himself, who famously urged his publisher to avoid an image of an insect on the cover of Metamorphosis. Be that as it may, it is unlikely that such a central progenitor of twentieth-century art and thought as Kafka can be fully understood without reference to the revolutionary artistic medium of his century: cinema. Mediamorphosis compiles articles by some of today's leading forces in the scholarship of Kafka as well as film studies to provide a thorough investigation of the reciprocal relations between Kafka's work and the cinematic medium. The volume approaches the theoretical integration of Kafka and cinema via such issues as the cinematic qualities in Kafka's prose and the possibility of a visual manifestation of the Kafkaesque. Alongside these debates, the book investigates the capacity of cinema to incorporate and express the unique qualities of a Kafkaesque world through an analysis of cinematic adaptations of Kafka's prose, such as Michael Haneke's The Castle (1997) and Straub-Huillet's Class Relations (1984), as well as films that carry a more subtle relation to Kafka's oeuvre, such as the cinematic works of David Cronenberg, the films of the Coen brothers, Chris Marker's "film-essay, " Charlie Chaplin's tramp, and others.
(source: Nielsen Book Data)

In The Philosophy of David Lynch, editors William J. Devlin and Shai Biderman have compiled an impressive list of contributors to explore the philosophy at the core of the filmmaker's work. Lynch is examined as a postmodern artist, and the themes of darkness, logic, and time are discussed in depth.
(source: Nielsen Book Data)