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Abstract

It is to the credit and overall success of Rancière and Film that the essays featured in the book both transcend film as merely features on cinema screens, and investigate Jacques Rancière’s writing in wider-ranged terms than simply his later writing on the topic. Paul Bowman, who incidentally maintains the useful ranciere.blogspot.co.uk website alongside Michael O’Rourke, is tasked with editing the volume. Although a preface introducing the chapters would have been desirable, he nonetheless sets out many of the key themes that run through Rancière’s work, paying particular attention to his relationship to disciplines and disciplinarity. Bowman’s overview on this point is helpful when considering subsequent chapters that investigate Rancière’s place in film, media and cultural studies1. There is also a lot to be said for how the book is structured: despite the standalone nature of contributions, the order in which they appear is deliberate. For example, Nico Baumbach’s essay, ‘What Does It Mean to Call Film an Art? ’ is conveniently placed in the second chapter, offering clear and concise models of categorising film as art which, in a book that deals heavily in aesthetics, is a helpful point of reference for subsequent passages

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