World War One: Read about it

A photograph showing a French bayonet charge t...
A photograph showing a French bayonet charge taken during the Great War. Note the sword bayonets. (Photo credit: Wikipedia)

As this is the centenary of the outbreak of the war there is a flood of books on the topic. Which ones are worth reading? See this roundup of titles from the New York Review of Books:

The Greatest Catastrophe the World Has Seen

Enhanced by ZemantaIf you want to write your own book on the subject you may be interested in the freely available war diaries that have been published by the National Archives in London:

Cinema & philosophy lectures at RUG

Full Program:
30 January (6-8pm): Patricia Pisters (University of Amsterdam).
Powers of Affect: The Neuro-Image in Digital Screen Culture
Respondent: Barend van Heusden. NB: see full details of this talk below.
27 February (6-8pm): Martin Seel (Goethe University Frankfurt).
The Ethos of Cinema
Respondent: Judith Vega
27 March (6-8pm): Josef Früchtl (University of Amsterdam).
The Art of Gesture: Returning Narrative and Movement to Images
Respondents: René Boomkens & Annie van den Oever
1 May (6-8pm): Murray Smith (University of Kent).
From Reflex to Reflection: Thinking and Feeling in the Cinema
Respondent: Julian Hanich
22 May (6-8pm): Gregory Currie (University of York).
Can Film Be Philosophy?
Respondent: Miklós Kiss

Location for all lectures:

Faculty of Arts, Harmony building, Marie Lokezaal
Oude Kijk in ’t Jatstraat 26, Groningen.
Patricia Pisters (University of Amsterdam).
Powers of Affect: The Neuro-Image in Digital Screen Culture
Cinema in the digital age has become a brain cinema. In today’s

Eternal Sunshine of the Spotless Mind
Eternal Sunshine of the Spotless Mind (Photo credit: Wikipedia)

cinema we move through character’s brain worlds rather than following their actions or looking through their eyes. In films such as Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004), Inception (Christopher Nolan, 2010), and Source Code (Duncan Jones, 2010) we see characters hooked up to a kind of brain scanning machine to mark the entering of brain worlds. However, also when it is not so literally emphasized contemporary cinema has become a ‘brain cinema’ that runs in parallel to recent discoveries in neuroscience and which differs in major ways from previous dominant modes of filming. In the tradition of Deleuze’s movement-image and time-image, I propose to call this new mode of cinema ‘the neuro-image’. The brain-worlds of the neuro-image are full of senses, gestures and affective forms of resistance. This lecture will focus on the primacy of affect in contemporary culture with a focus on ‘neurothrills’ (that are before or beyond narrative suspense) and affects of surveillance in Red Road (Andrea Arnold, 2004) and Evidence Locker (Jill Magid, 2004).

Patricia Pisters is professor of  film studies at the department of Media Studies of the University of Amsterdam.  She is one of the founding editors of  Necsus: European Journal of Media Studies (  Publications include The Matrix of Visual Culture: Working with Deleuze in Film Theory (Stanford University Press, 2003) and Mind the Screen (ed. with Jaap Kooijman and Wanda Strauven, Amsterdam University Press, 2008). Her latest book is The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture (Stanford University Press, 2012). See also

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