Davide Panagia is a professor and chair of the Department of Political Science at the University of California, Los Angeles.

• AcknowledgmentsIntroduction: Political Theory and Cinematic ExperienceChapter 1: Intermediality and the MoviolaChapter 2: An Intermediality of AdveniencesChapter 3: Intermedial RelationsChapter 4: An Intermediality of AspectsCoda: Politics, Criticism, and the Intermediality of Cinematic ExperienceNotesBibliography

“How does cinematic experience orient our senses to new configurations of politics, of being, of doing? Davide Panagia's deep and wide knowledge of cinematic form, media studies, and political theory inform his brilliant, compelling, cutting-edge approach.” —Lori Marso, Union College"Moving fluidly between film theory and political theory, Davide Panagia asserts that both movies and democratic institutions—at least, at their best—have a built-in slipperiness, a radical openness, that allows them to attend to shifting circumstances, to propose unforeseen inventions, and to stimulate joyful, collective engagement." —Steven Shaviro, Wayne State University “Essential and exhilarating reading for anyone who wants to rethink the power of cinema—past and future—and to do so by starting from relations rather than identities, dispositions rather than substances. This is a timely, daring, and committed intervention into a novel ontology of the moving image, one that does not need to choose between aesthetics and politics but instead thrives on investigating their constitutive entanglement.” —Domietta Torlasco, Northwestern University

Davide Panagia is a professor and chair of the Department of Political Science at the University of California, Los Angeles.

• AcknowledgmentsIntroduction: Political Theory and Cinematic ExperienceChapter 1: Intermediality and the MoviolaChapter 2: An Intermediality of AdveniencesChapter 3: Intermedial RelationsChapter 4: An Intermediality of AspectsCoda: Politics, Criticism, and the Intermediality of Cinematic ExperienceNotesBibliography

“How does cinematic experience orient our senses to new configurations of politics, of being, of doing? Davide Panagia's deep and wide knowledge of cinematic form, media studies, and political theory inform his brilliant, compelling, cutting-edge approach.” —Lori Marso, Union College"Moving fluidly between film theory and political theory, Davide Panagia asserts that both movies and democratic institutions—at least, at their best—have a built-in slipperiness, a radical openness, that allows them to attend to shifting circumstances, to propose unforeseen inventions, and to stimulate joyful, collective engagement." —Steven Shaviro, Wayne State University “Essential and exhilarating reading for anyone who wants to rethink the power of cinema—past and future—and to do so by starting from relations rather than identities, dispositions rather than substances. This is a timely, daring, and committed intervention into a novel ontology of the moving image, one that does not need to choose between aesthetics and politics but instead thrives on investigating their constitutive entanglement.” —Domietta Torlasco, Northwestern University

Davide Panagia is a professor and chair of the Department of Political Science at the University of California, Los Angeles.

• AcknowledgmentsIntroduction: Political Theory and Cinematic ExperienceChapter 1: Intermediality and the MoviolaChapter 2: An Intermediality of AdveniencesChapter 3: Intermedial RelationsChapter 4: An Intermediality of AspectsCoda: Politics, Criticism, and the Intermediality of Cinematic ExperienceNotesBibliography

“How does cinematic experience orient our senses to new configurations of politics, of being, of doing? Davide Panagia's deep and wide knowledge of cinematic form, media studies, and political theory inform his brilliant, compelling, cutting-edge approach.” —Lori Marso, Union College"Moving fluidly between film theory and political theory, Davide Panagia asserts that both movies and democratic institutions—at least, at their best—have a built-in slipperiness, a radical openness, that allows them to attend to shifting circumstances, to propose unforeseen inventions, and to stimulate joyful, collective engagement." —Steven Shaviro, Wayne State University “Essential and exhilarating reading for anyone who wants to rethink the power of cinema—past and future—and to do so by starting from relations rather than identities, dispositions rather than substances. This is a timely, daring, and committed intervention into a novel ontology of the moving image, one that does not need to choose between aesthetics and politics but instead thrives on investigating their constitutive entanglement.” —Domietta Torlasco, Northwestern University