
Jason Read
Jason Read is Professor of Philosophy at the University of Southern Maine. He is the author of The Micro-Politics of Capital: Marx and the Prehistory of the Present (SUNY 2003) and The Politics of Transindividuality (Brill 2015/Haymarket 2016) and a forthcoming collection of essays, The Production of Subjectivity: Between Marxism and Post-Structuralism. He has published essays on Spinoza, Deleuze, Marx, and The Wire among others. He blogs on popular culture, philosophy, and politics at unemployednegativity.com.
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Books by Jason Read
Edited by Ceciel Meiborg, Sjoerd van Tuinen
Contributors Samantha Bankston, Benoît Dillet, Moritz Gansen, Arjen Kleinherenbrink, David U.B. Liu, Jason Read, Louis-Georges Schwartz, Sjoerd van Tuinen
Published: 12/21/2016
Papers by Jason Read
Edited by Ceciel Meiborg, Sjoerd van Tuinen
Contributors Samantha Bankston, Benoît Dillet, Moritz Gansen, Arjen Kleinherenbrink, David U.B. Liu, Jason Read, Louis-Georges Schwartz, Sjoerd van Tuinen
Published: 12/21/2016
philosophical ideas, but on the philosophical questions raised by film itself: film as a
producer of ideas. Film is striking because of the manner in which artificial technologies,
from the illusion of movement produced by flickering images to the digital landscapes and characters of contemporary cinema, produce an experience that can be perceived as “more real,” (more intense) than reality. Central to this course is the idea that films are integral to how we make sense of the world. Thus, philosophy avoids a discussion of film at its peril. Readings will include Agamben, Beller, Deleuze, Jameson, Ranci re, Badiou, and Zizek. Finally, we will look at the post-cinema age, as film’s central place in culture is displaced by video games, online video, and television and how this transformation affects not only how movies are made and understood, but also how we think about and experience images, time, and reality. Films will run the gambit from early silent films (Eisenstein’s Strike), through classics of cinema (Hitchcock, Ford, and Kurosawa), to contemporary film.
Althusser, Crisis and Critique, Volume 2, #1, (2015) 357-362.