Acknowledgements Introduction Part 1: Brechtian Film Theory Chapter 1: Key Concepts The Dialectic The Individual as a Nexus The Gestic Principle: Between Brecht, Eisenstein, and Deleuze Gestus and Cultural Techniques 'Humour is a Sense of Distance' Chapter 2: Photography and Film The Photographic Image The Apparatus and the Agency of the Machine Chapter 3: Modernism as Realism Brecht, Bazin, and Lukács On Sound/Music Some Thoughts on Brecht and Genre Chapter 4: Brecht in Film Theory From Close Up to the Grand Theory Noël Burch The Cognitivist Critique Rancière and the post-Brechtian Part 2: Brechtian Cinema The Revisionist History Film Chapter 5: Re-visioning History Defining the Revisionist History Film Totality is history: Szegénylegények ( The Round-Up , 1966) and Allonsanfàn (1974) Chapter 6: Revisiting National Traumas Dealing with Fascism: Professor Mamlock (1961), Das schreckliche Mädchen ( The Nasty Girl , 1990) Epic Cinema: Ο Θασος ( The Travelling Players , 1975), 1900 (1976) The Essay Film Chapter 7: Beyond Auteurism: the Dialectics of the Essay Film The Disappearance of the Subject in Writing Representation as Unfinished Material: Thomas Heise's Material (2009) Chapter 8: Pedagogical Essay Films Agitprop and the Crisis: Brecht die Macht der Manipulateure ( Break the Power of the Manipulators , 1967), Fascism Inc . (2014) The Lehrstück on Film: La Commune (Paris, 1871) (2000), The Act of Killing (2012) Cinemas of Cruelty Chapter 9: Brecht and Artaud The Politics of Cruelty: Brecht and Artaud From Theatre to Film: The Brig (1964), Marat/Sade (1967) Chapter 10: Cruelty as Anticommodity Everyday Fascism: Import/Export (2007), The Rebellion of Red Maria (2011) The Postdramatic on Screen : Katzelmacher (1969), Die linkshändige Frau ( The Lefthanded Woman , 1978) Epilogue Bibliography Index.