Index
index actor: Benjamin and, 96–97, 175–76, 185, 198, 312n5; Kracauer and, 63, 175 actuality, 133–34, 305n3, 308–9n36; Benjamin, 75–83, 90–92, 119, 133–34, 201, 305n3; Kracauer, 76, 133–34, 305n3 Adorno, Theodor W., xi, 3, 5, 207–50; abstraction, 217; aesthetic semblance, 200, 217, 244; and aura, 114, 118, 196, 207–8, 221, 233, 346n61, 350n118; Bauer and, 282n5; censorship charges against, xii, 84; eccentric figure, 166; and Eisenstein, 209, 216, 217, 222, 240, 343n29, 345n53; experience (Erfahrung), xiv, 213–14, 223, 231; and Freud, 197, 227, 243, 291n75, 295n75, 344n47; Germany return after World War II, 209; Institute for Social Research, xi, 77, 209, 300n54; Jameson and, ix; and Kluge, xviii, 210, 218, 222, 225, 249–50, 342n12; Marx Brothers, xviii; mimesis, 146–47, 214, 223, 228–29, 233–36, 240, 248, 345n50, 346n64; moviegoing, xviii; reification, 8, 17, 20, 26, 54, 110, 197, 207, 227–29, 238, 286n16, 314n18; “Research Project on Anti-Semitism,” 209; social status, 20; translations, 4; in U.S., 28, 209; wife Gretel Karplus, 76, 307n22 Adorno, Theodor W.—Benjamin critiques, 207, 212, 213, 214, 223, 232; artwork essay, 83–84, 96, 99, 141, 161, 165–66, 195–99, 207–8, 215, 219, 221, 233–35, 240–41, 311n66, 332n13; aura, 118, 233, 346n61, 350n118; after Benjamin’s death, 163; Disney, 163–64, 165–69, 180, 181–82, 332n10; experience and forgetting, 110, 314n18; humor, 181–82; and Klages, 124, 233; language, 233–35, 346n62; “Little History of Photography,” 259; mimetic faculty, 146–47, 228, 233–34; The Origin of German Tragic Drama, 225; play, xviii, 195–99, 217, 239, 340nn48,49,50,51; sport, 197–99; Werfel, 343n28; writing, 226 Adorno, Theodor W.—culture industry, xvii, 207–10, 341n1; “Culture Industry Reconsidered” (1963), 209, 215, 218; and Federal Republic administrative cultural order, xii, 210; hieroglyphic writing, 52, 224–29, 238, 344n47; immediacy, 217, 244; independent film and, 219; Kluge and, 249; Minima Moralia (1944–47), 208, 217–18; “Prologue to Television” (1953), 226, 227; radio, xvii, 215–16, 237, 347n78; reception, 249; reproduction technologies, 212, 215–16, 218; television, xvii, 209, 226, 227; time, 238–39; varieté, 238–39. See also Adorno, Theodor W.—film aesthetics; Dialectic of Enlightenment (Horkheimer and Adorno, 1944; 1947)—culture industry chapter Adorno, Theodor W.—film aesthetics, 207–50; Aesthetic Theory (1970), 196, 197, 210–12, 217, 224, 226, 228, 229–30, 233, 346n62; “Art and the Arts” (1966), 220–21, 245; Bilderverbot, 224–25, 229; determinate negation, 224–25, 357 358 index 230; Disney, 163–64, 165–69, 180, 181–82, 220, 332n10; “emancipated film,” 215, 248; Gesamtkunstwerk, 209, 245; hieroglyphic writing, 52, 224–29, 238, 344n47; image worlds, 213, 214, 269; impressionism, 222, 231, 240, 343n21; improvisation, 219; language, 233–36, 248–49; mobility, 247–48; montage, 216, 219, 221–22, 225; mummification, 238; natural beauty, 229–36, 237, 270, 345n57; “radical naturalism,” 217, 270; and reproduction, 219; rhythm, 242–43, 245–46, 248; shock, 221; Sprachcharakter, 220, 233, 346n62; substitution, 238; technology and technique, 210–24, 236, 342n15; temporality, 237–48; “Transparencies on Film” (1966), 210, 218–24, 226, 229–30, 235, 236–50; writing, 52, 210, 224–27, 236–37 Adorno, Theodor W.—Kracauer, 259, 271, 289n54; Auschwitz, 236, 266, 353n33; characterization, 17, 18, 26; Germany, 304n107; happy endings, 278; intentionlessness, 221–22; Luna Park, 70; “mass ornament,” 49, 52, 215–16; Nazi period, 257, 300n54; redemption, 221; Theory of Film, 220–21, 258, 278, 351n13, 353n33 Adorno, Theodor W.—music, 208, 216, 245; cinematic mobility, 247–48; Composing for the Films, 209–10, 216–17, 219, 240, 245–46, 343nn28,29; Darmstadt summer courses, 246, 344n34; electronic music, 215, 219, 245, 246; experimental music, 219, 241–42; “Fetish Character of Music and the Regression of Listening” (1938), 166, 197, 208, 343n24; gramophone record, 225, 340n53; improvisation, 219; In Search of Wagner (1938; first published in 1952), 209; international new wave cinema, 210; jazz, 166–67, 180, 208, 219, 242–43, 332n13, 344n36, 348n93; kitsch, 208, 243; Mahler, 242, 243, 248, 349n117; “Music in Radio,” 215–16; musique informelle, 244–45; New Music, 216, 219, 344n34, 348nn93,100; notation and reproduction, 219; “planned,” 245; postserialism, 219, 243; radio, 215–16, 237, 347n78; regressive listening, 197; reproducibility, 212, 219, 225; reproduction, 219, 342n17; rhythm, 216, 242–43, 245–46, 348n93; Second Viennese School, 209, 241; semblance, 196–97, 244, 340n50; serialism, 241, 243–44; Stravinsky, 242, 243, 245, 348n93; subjectivity, 244; technology and technique, 216, 342n15; temporality, 243–48...
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