Brecht, emotion, and the reflective spectator: The case of ‘BlacKkKlansman’
by Carl Plantinga One enduring concern of film theory has been the question of what film structures and styles encourage critical, reflective, and active spectatorship. Neo-Brechtian theory has been influential in this regard, as many of Brecht’s theories regarding the epic theatre were incorporated into film theory in the 1970s, just as the field was […]