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I am always most fond of Rancière when he is writing on cinema. This should not be surprising considering that I have an academic background in Film Studies. However, I am not only interested in Rancière when he writes on the cinema. Really, his two principal subjects are aesthetics and politics, broadly speaking, and I have long found his digressions on both those subjects to be of interest. That being said, his publications strike me as being of uneven value. I was very taken w/ his recent book Aisthesis: Scenes from the Aesthetic Regime of Art, which may well indeed be his finest. There are parcels of insight contained within it that, even after the general theoretical thrust of the work has dimmed in my mind, continue to stay w/ me (I benefited immeasurably, for example, from his critical linkage of Dziga Vetov and Walt Whitman). The Intervals of Cinema is a fairly streamlined and accessible work, and reading it in its entirety certainly doesnt demand a major dedication of time. It is essentially six essays split in broadly thematic twos, preceded by a strong preface. The first section focuses on cinema in relationship to advances made by modernist literature, a second section (certainly the broadest) on art and cinema (mostly about the dynamics between performance and fiction, the seen and unseen), and the final section on cinema and politics. There is not a poor essay in the bunch. They are all in some way remarkable. If pressed to choose, I would say that I think the strongest section is the first. But this whole collection is very much a unified theoretical work. It looks pertinently at concepts related to narrative, visual grammar, what it means to look, bodies, performance, justice, and injustice. And again, of course, the visible and the invisible. Fair warning: a strong familiarity w/ film history is pretty much essential.

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