Contingency's work: Kracauer's theory of film and the trope of the accidental
New Formations - ISSN 0950-2378
Volume 2007 Number 61
Contingency's work: Kracauer's theory of film and the trope of the accidental
Janet Harbord pages -
Abstract
Harbord suggests that the tropes of the contingent and the accidental are central to Kracauer’s thinking on cinema and modernism. The essay argues that in ‘Theory of Film’ (1960), Kracauer’s use of contingency prises open the bodily encounter with the image as it undergoes transformation. Thus, according to Harbord, the contingent is a fundamental indeterminacy at the heart of film, threatening relations between image and viewer.
SORRY - you are not registered as being permitted online access to the full text of this article
You have the following options:
- If you are viewing this via an institution or academic library you can ask that your institution takes out a Subscription to this journal.
- If you already have a Personal Subscription please login below
Forgotten your username / password? Click here to locate
- Purchase an annual Personal Subscription
PRINT + DIGITAL personal subscription (£45 / year)
DIGITAL personal subscription (£30 / year)
A Personal Subscription provides immediate access not only to the single article you are seeking, but also to all past and future articles in this journal up to the expiry of your annual (calendar year) subscription. - Purchase immediate access to this single article (UK£7.00) - Buy article Coming Soon
To cite this article
Janet Harbord (2007) Contingency's work: Kracauer's theory of film and the trope of the accidental, New Formations, 2007(61), -