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Kant’s famous Enlightenment article is a crucial but overlooked source for his aesthetics. This essay unlocks its aesthetic significance by scrutinizing the mode of address in which Kant grounds his enlightenment project. Enlightenment, for Kant, revolves around the address we direct as men of...
In this memoir of the origins and making of her film Hannah Arendt , Margarethe von Trotta places it in the context of her two earlier film biographies of prominent women: Rosa Luxemburg (1986) and Vision (original title: Vision—Aus dem Leben der Hildegard von Bingen , 2009). The three films...
Margarethe von Trotta’s film Hannah Arendt starts and ends with its protagonist on the couch. Hannah Arendt’s intellectual objection to psychoanalysis notwithstanding, this framing invites us to consider the psychoanalytical symptoms Arendt’s own thinking is caught up in. The essay reads...
This essay attempts to disable the “ruinous” logic that has fueled recent slut-shaming on Web 2.0 by making visible the ways in which our machines are promiscuous—routinely “leaking.” The authors present the leak as a habit so as to disrupt the illusion of privacy and sealed...
This introduction to the difference s dossier on Margarethe von Trotta’s film Hannah Arendt follows three registers simultaneously: the presentation and implied argument of the film, its foundation in Arendt’s 1963 articles and book Eichmann in Jerusalem: A Report on the Banality of Evil ,...
In “But She’s a Thinker,” Pamela Katz discusses the process by which she and director Margarethe von Trotta chose the Eichmann years as the frame for their dramatic film about Hannah Arendt. After years of research and a great deal of thought, they believed this was the best way to portray...
Margarethe von Trotta’s Hannah Arendt offers a brilliant cinematic interpretation of one of the most pivotal chapters in Hannah Arendt’s life and work, the Eichmann trial. The author argues that the film correctly assumes that Arendt’s thinking on evil underwent an important change during...
More than once Arendt denied being a public figure and added that she did not entertain any “ambition to become one.” This poses a challenge to any filmmaker seeking to portray her character, as Margarethe von Trotta found when she contradicted Arendt’s self-perception to inquire who was...
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